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‘Returning the Skin’ explores Irish–Icelandic connections to the sea, taking the Selkie as a symbol of loss, transformation, control and freedom.

The central work - part ritual, part art piece - involved the durational creation of a protective skin that eventually escaped the gallery space.

Created on location in Hellisandur, Iceland on a mobile glass furnace I used recycled window glass. The people who visited the workshop were invited to blow glass into moulds made from seaweed. This gave them an experience of the material and I chatted to them about the ideas behind the exhibition.

After the exhibition the work was dismantled, the pieces were smashed and recycled. I have only kept a very limited number of them to incorporate into future work. The concept was to work in a way that allowed visitors to experience something beautiful, connected to nature through materials but not own it.

The figure of the Selkie in, 'Returning the Skin' asks us to think about gentler ways of living, in harmony with our environment.

The exhibition was part of @glowingglacier and supported by @cultureireland @alexander.tutsek.stiftung

Description of images - a series of images showing different angles of the 'Returning the Skin' exhibition at Snæfellsjökull National Park Center. It is a grey concrete room with a large window at one end. The view is onto a green mossy and rocky exterior. The installation is made up of series of abstract glass forms, over 100 pieces, laid out on the ground. They have a green blue glow, are soft flowing shapes and appear to be making their way towards the big window. They climb around different wood, rope and a small seating area to reach the outdoors.

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The Closing event - Heat and Sand with Brynhildur Þorgeirsdóttir 🔥

Thank you to everyone who came and shared this special moment with us!

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Glóandi Jökull | Glowing Glacier Glass Festival in Hellissandur, Iceland is made possible through funding from the Nordic Council of Ministers’ Culture and Art Programme, @nordiskkulturkontakt @ssvesturland Pentagram Stiftung, @cultureirreland @alexander.tutsek.stiftung @culturemoveseurope Fondet for Dansk-Islandsk Samarbejde, @carlodona1923 #KurtMerker

The festival is supported through our network of organising partners
@handverkoghonnun @snaefellsjokull_national_park , 3 Veggir Gallery, @niesenglass_switzerland and glasspool, Atelier Peter Lang, @glasspool.de

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Today is the last day of the Glowing Glacier group exhibition, and if you need some motivation to why you should go and see it, one last time, Sigrún has it here❤️

Video by @pepa_horak
with @gleribergvik

Glóandi Jökull | Glowing Glacier Glass Festival in Hellissandur, Iceland.
24 June to 19 July, Daily programme on our website.
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The festival is made possible through funding from the Nordic Council of Ministers’ Culture and Art Programme, @nordiskkulturkontakt @ssvesturland Pentagram Stiftung, @cultureirreland @alexander.tutsek.stiftung @culturemoveseurope Fondet for Dansk-Islandsk Samarbejde, @carlodona1923 #KurtMerker
The festival is supported through our network of organising partners
@handverkoghonnun @snaefellsjokull_national_park , 3 Veggir Gallery, @niesenglass_switzerland and glasspool, Atelier Peter Lang, @glasspool.de

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$Selina Amelie Weber explaining about her work in the Glowing Glacier group exhibition: Once Near, Now Far 2026 Mouth blown glass, projector Selina Amelie Weber is a German-based artist working with glass, light and space. She received her Bachelor of Arts in Ceramic and Glass Design in 2019, worked as a lighting designer, and completed her Master of Fine Arts in Glass in 2024. Since then, she has been working as a glass designer and glassmaker at the Glass Museum Gernheim. The installation Once Near, Now Far is a further development of Schon ist alle Nähe fern (2024). Its starting point is Goethe’s poem Dämmerung (Twilight) and the line “Schon ist alle Nähe fern” - “already, all nearness is distant.” While the earlier work explored twilight as a moment in which light, space, and perception become unstable, the new installation reconsiders this thought in Iceland’s almost continuous daylight. Iceland’s landscape becomes part of the work: an island shaped by water, weather, and movement. Water appears as an image of process and change. The installation consists of a round, hand-shaped glass sheet with enclosed air bubbles and a video projection of moving water. The glass receives, refracts and partly dissolves the image. What appears visible and close is shifted into distance through light, material, and perception. @selina_amelie www.weberselina.com video: @pepa_horak The exhibition is curated by Bjarni Sigurbjörnsson @bjarni_sigurbjornsson_artist, and is open every day until 19th July. The festival is made possible through the support of our organising partners: Handverk og Hönnun, Samtök Sveitarfélaga Á Vesturlandi, The National Parks Centre Hellissandur, 3 Veggir Gallery, Niesenglass GmBH and glasspool. @handverkoghonnun @ssvesturland @snaefellsjukull_national_park @niesenglass @glasspool.de Glóandi Jökull | Glowing Glacier Glass Festival has received funding from the Nordic Council of Ministers’ Culture and Art Programme, as well as support from Sóknaráætlun Vesturlands, Pentagram Stiftung, Culture Ireland, Culture Moves Europe, Atelier Peter Lang, Fondet for Dansk-Islandsk Samarbejde and the Alexander Tutsek-Stiftung.$

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Introducing the works by Michaela Trávíčková, showing at the Glowing Glacier group exhibition in Hellissandur

Triptych for Water
2026, kiln-cast glass, 3 objects

Path of Water
2022, kiln-cast glass, 6 objects

Michaela Trávíčková is born in 1995. She graduated in Glass Design at Tomas Bata University in Zlín and focuses on site-specific installations, land art and glass.

Triptych for Water
I observe how water sculpts the landscape, following its trail with the focused intensity of a hunter tracking game. Water is a medium of infinite diversity; it creates intricate textures and serves as a silent narrator for the land. Within its path, I envision the deep history of the terrain – from
the monumental shifts of millennia to the ephemeral fall of a recent rainstorm.
This work captures the authentic imprints of water at their true scale, preserving them as sculptures of deep-blue, kiln-casted glass. Beyond a visual study of water action, these objects blur the boundary between the microscopic detail of erosion and the macroscopic representation of the landscape. It stands as a monument dedicated to
the water that has passed, leaving behind a permanent testament to its transient presence.

@m_travnickova
https://michaelatravnickova.cz/

The exhibition is curated by Bjarni Sigurbjörnsson, @bjarni_sigurbjornsson_artist
The exhibition is open every day from 12 noon- 7pm until 19th July as part of the Glowing Glacier Glass Festival.

The festival is made possible through the support of our organising partners:
Handverk og Hönnun, Samtök Sveitarfélaga Á Vesturlandi, The National Parks Centre Hellissandur, 3 Veggir Gallery, Niesenglass GmBH and glasspool.

@handverkoghonnun @ssvesturland @snaefellsjukull_national_park @niesenglass @glasspool.de

Glóandi Jökull | Glowing Glacier Glass Festival has received funding from the Nordic Council of Ministers’ Culture and Art Programme, as well as support from Sóknaráætlun Vesturlands, Pentagram Stiftung, Culture Ireland, Culture Moves Europe, Atelier Peter Lang, Fondet for Dansk-Islandsk Samarbejde and the Alexander Tutsek-Stiftung.

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