Erna Skúladóttir often engages with themes of time, geology, and environmental transformation. She documents the subtle yet profound impact of climate change on natural forms. Erna works with glacial and geological time, capturing the slow movements and transformations of Iceland’s landscapes. Her installations document the intersection of climate change and natural history, asking viewers to contemplate the scale and fragility of environments shaped over millennia. 

In Yfirborð, Erna Skúladóttir meditates on the fragility and flux of geological materiality, exposing the illusion of solidity within landscapes. Her manipulation of unfired clay and natural materials speaks to the constant transformation occurring beneath the surface of seemingly stable matter. By working with materials that dry, crack, and decay over time, her installations insist on the viewer’s attunement to slow, almost imperceptible changes. Skúladóttir’s work translates geological processes into sculptural form, mirroring how time operates on both emotional and environmental scales.

Julie Sjöfn Gasiglia (b. 1990, France) is an Icelandic–French artist whose work is rooted in the exploration of narratives that interlace humans with the more-than-human world—the relationships that surround us and the ecosystems that dwell within our own bodies.

Her sculptures and installations become meditations on slowness, transformation, responsibility, and interconnectedness. These man-made creatures pose questions about the sustainability of systems and the dysfunctions that arise within them.

In a world of overstimulation, she offers an invitation to listen with the whole body, expanding our capacity to notice, feel, and respond to the living world.

Her multi-sensory installations foreground the intimate bonds between humans and more-than-human beings. Whether through speaker-embedded ceramics or movement-activated environments, her practice slows perception and fosters interspecies empathy. Sounds drawn from the artist’s own microbiome travel through fired clay, while the viewers’ presence influences the rhythm and flow of fluids—reminders of connections beyond language that invite a sensorial encounter.

Pétur Thomsen focuses on the transformation of land through human intervention. He examines the friction between industrial development and fragile ecosystems, creating images that are both documentary and critical. Pétur Thomsen turns his lens toward landscapes under transformation, documenting the encroachment of human intervention on natural systems. His long-term photographic series charts the incremental shifts in the land. Thomsen draws attention to the marks of human intervention; mines, tree plantations, and cultivated land. The stark contrasts and nocturnal stillness suggest a slow violence at work, change that creeps rather than crashes.

In Teigskógur, Pétur presents a series of photographs taken in the forest Teigskógur, capturing the aftermath of a violent human intervention in a once-pristine forest. The images document the moment when a mulcher was used to tear through the birch trees, clearing the way for a highly controversial road construction project. Presented in a grid, the close-up shots of shredded wood, broken branches, and disturbed moss lay bare the brutality of this mechanized intrusion. The repetition and variation across the frames evoke a sense of systematic destruction, making visible a slow violence often hidden in infrastructural development.

Ragna Róbertsdóttir is an Icelandic artist whose multidisciplinary practice explores the seasonal cycles of growth, decay, and regeneration through delicate, often ephemeral materials. Her work reflects on impermanence, crafting a visual language of slow unfolding, blossoming, withering, transforming, that speaks to nature’s quiet endurance. By working with materials like lava rock, turf, salt, and clay, Róbertsdóttir transforms geological processes into poetic gestures. Her compositions appear simple, yet they demand prolonged contemplation. 

Ragna Róbertsdóttir’s minimalist sculptures and outdoor interventions Timescape, Saltscape, and Path are rooted in Iceland’s elemental materiality, evoking the slow erosion, formation, and sedimentation of the land itself. Each granule or fragment seems suspended in geological memory, marking the passage of millennia in a single crystalline gesture. These works operate as slow clocks, capturing the sediment of centuries and positioning nature not as a backdrop to human life, but as its measure and mirror. At the entrance of the Nordic House, copper plates are embedded into the ground, quietly catching light and weather over time, marking thresholds and inviting a slowed, attentive mode of arrival. She similarly marks a pathway in the marsh of Nordic House with fragments of red lava, stone, and sediment, creating a tactile and visual disruption that amplifies the terrain’s geological memory. 

(Rhoda Ting (b. 1985, Australia) and Mikkel Bojesen (b. 1988, Denmark) are an artist duo based in Copenhagen, working at the intersection of art and science. Their practice centers on non-human agency, microbial systems, and speculative futures, often incorporating living organisms and laboratory materials into sculptural and performative installations. Their practice incorporates scientific collaboration, working with bacteria, spores, and other life forms to make visible the unseen processes of the Earth. By cultivating living systems in sculptural contexts, their work draws attention to interspecies collaboration and temporal cycles far beyond human perception. 

Deep Time invites viewers to step outside the narrow framework of human temporality, making visible the geological timescales that precede and outlast human history. By presenting the earth’s evolutionary archive, the work reframes the human experience as a minor blip in the planet’s chronology. Rhizome, by contrast, brings the microscopic scale into focus, highlighting the entangled, non-linear, and decentralized networks of fungal life. As a sculptural installation composed of petri dishes with living fungi, the piece operates as a living system, a slow, unpredictable collaboration between art and organism. The work evolves over time, shifting unpredictably, and resisting spectacle. Their practice challenges not just the viewer’s pace of attention but also their understanding of evolutionary, ecological, and aesthetic systems.

Thomas Pausz is a visual artist and speculative designer based in Reykjavík. He creates sculptural and conceptual works that explore post-human ethics, ecological inquiry, environmental storytelling, and the possibility of multispecies coexistence. Pausz’s installations often evoke hybrid worlds that exist between natural systems and human intervention. His ecological media practice creates “frictions” between life forms and technologies, probing the haunted intersections between biology, computation, and environmental ethics. 

In his work Double Capture, he invites us into the intimate, sensuous choreography of pollination, not as a biological process alone, but as a relational, time-based performance between species. The greenhouse becomes a living instrument, attuned to the secret signals exchanged between flowers and their pollinators: the vibratory language of touch, color, scent, and invisible electromagnetic pulses. Double Capture refers to the act of pollination, where the flower “captures” the pollinator, and vice versa.

WAUHAUS is a Helsinki-based multidisciplinary arts collective. The collective’s works are situated between different genres of art and they take place at various venues, such as small black box theatres, urban sites, large stadiums, and the main stages of established theatre houses. The members of WAUHAUS are scenographer Laura Haapakangas, director Juni Klein, scenographer Samuli Laine, sound designer Jussi Matikainen, choreographer Jarkko Partanen, sound designer Heidi Soidinsalo, producer Minttu-Maria Jäävuori and managing director Julia Hovi.

In Some Unexpected Remnants, WAUHAUS examines the temporal and material legacy of waste. The video piece lingers over Vuosaarenhuippu, a former landfill transformed into recreational land, and an active waste center in Kuopio. Through this slow, observational approach, they meditate on the lifespans of materials that society attempts to forget- landfills that outlive us, matter that never fully disappears, offering quiet, lingering engagement with entropy and renewal. The performance-based origins of the video are evident in its choreography of machines and landscapes, emphasizing the entanglement of natural and artificial rhythms. Their piece becomes a poetic artifact of slow decay and adaptation, showing how waste, like memory and land, breathes and mutates in silence.