Certainly great women artists have given us much in the way of enduring art. But their contributions are great, not because they are women, but because the work itself is great; and generally speaking a concern of mine is that the emphasis will fall on the woman artist, rather thatn on the art itself. Women artists should be artists first, and women artists second. fortunately Kristin Halldorsdottir Eyfells, born and raised in Iceland, is an artist first.

With a degree in psychology (she took a sculpture class, and the rest is history), she has always had an interest in people; expecially how they look. In Iceland, she designed and sold women's clothing; she stitched and hemmed pieces of colored fabric into objects of beauty. Today her fabric is her canvas stretched onto wooden frames, on which she renders a timeless subject--new interpretations of the human face.

Halldorsdottir Eyfells' vivid, over-sized, close-cropped portaits (or "characters" as she prefers to call them) push far beyond most people's expectations, evoking an intense experience within fresh artistic strengths. Like Iceland's ancient ice fissures, her drawn lines are sharp and unyielding. Suggesting the pressure of age, the ordeal of change and perhaps a disintegration, they establish the ups and downs of a facial landscape. Halldorsdottir Eyfells' radiant colors, interrupted by these lines, are locked into place--like frozen fireworks controlled and isolated by some angry Scandinavian deity. continued

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