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Interview with Katrin Olina
Katrin Olina represents a new type of a creative who chooses to realize her unique stylistic language across various areas and media, thanks to her interdisciplinary approach and graphic talent. Her provocative two-dimensional graphic language lies between art, illustration and graphic design.
The fantastical worlds it depicts are an imaginative expression of Katrin Olina’s own inner landscape, at once supernatural, organic and dreamlike. Its flowing style combines the storytelling traditions of her native Iceland with a markedly contemporary expression rooted in computer graphics.
With its wild, deserted nature, my native Iceland is a place that calls for introspection and feeds the imagination. Here, it is easy to get lost in a dream stae. So, Really you need to leave in order to get things done. My first trip took me to Paris, where I studied product design and spent my second adolescence, so to speak. Later on , I stopped for a brief and extended stints in London, Japan, Germany, Spain and for the fast few years, in Taiwan and Hong Kong.
Inspiration and Influences:
I think people become artists because they have a need to embrace and learn about the many aspects of their existence; it is a path they choose to pursue. I have always tried to keep a very open mind, and thus, my diverse interests and influences encompass natural sciences, history and metaphysics as well as fashion and music.
Years ago, I became very interested in studying plants and animals and I think this has also helped to sharpen my eye and style. After many years of observation and experimentation, I 'm putting these insights into practice.
What is Icelandic about Your work?
I see my work more as being connected to an exploration of inner worlds than that of nations or countries. But I can say that everything I do goes back to my native country and to nature most of the time. In Iceland it is very much instilled in us to tell stories and to be imaginative, I think it is natural when you live so closely with nature, and in our case it was harsh nature.
My great grandmother wrote and span rhymes that built on nature, folklore, mythology and fantasy. My other great grandmother was a master knitter, she improvised and made unique masterly pieces. I use a computer instead of needles or a pen but the source is the same as the one of my ancestors, that is imagination and the desire to say something, tell a story.
Do You think there is something Icelandic about Estonian design too?
I am not so familiar with Esonian design to be able to comment on it, but I would not be surprised to find similar traits between the two countries, both being very small under foreign rule for a long time, part of the north, the use of small means to create something new.... something like this springs to mind.
Do you think that geographical isolation and the high cost of things are and issue to icelandic designers to exposed and sell their work in the rest of the world? What are you doing to change that? (what do you do to get exposure outside Iceland)
Yes it is a challenge, but on the other hand it is also an advantage. As the world is changing fast, more attention is now given to creative uniqueness, locally produced products, innovation and craftsmanship as opposed to soulless mass production.
The important thing is, I think, to be part of the global creative community. You build it up little by little by taking part in shows, through press and the internet is an amazing tool.
What are the differences and similitudes between icelandic design and design in other escandinavian countries? What things (style, materials, etc) distinguish icelandic design?
The main difference is that the other countries have a long history of Design and manufacturing. In those countries Design is considered a serious profession with very important turnovers for the economy whilst in Iceland it's still considered an arts profession. As design here is still so young and manufacturing as we know it not important, Icelandic Design needs to prove itself and find it's own way. This way is in my opinion not at all to follow what other countries have done but to find a new way.
What is important to look at is not just the instant economic return but the cultural value it has and will have in the future.
In terms of character, we Icelanders like to believe that we are quite different from our Scandinavian brothers and sisters. We are open, with an organic mindset, generous, poetic risk takers, with lots of dark humor and it is said that it shines through when you look at the creativity in the country, be it design, art, music or literature...
Our festival is sloganing about environmental and green/sustainable thinking. How strong is it in Iceland and how does the environmental side display in Icelandic design and our work?
I think that is very good and the theme of the moment and very much a necessity for the future to educate all people to change their way of thinking about the environment and their relationship with it.
In Iceland we have green energy, lots of fresh water and fresh air, nature and space and a small population so we have been spoiled in many ways and have been a bit backwards in terms of environmental matters but it is changing fast.
I work internationally and am very interested in green thinking and would welcome the opportunity to work with companies that are green. Many companies are changing their materials and processes little by little. It is happening gradually, but only through education, discussion and promotion will these steps be made for real.
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