Ragna Róbertsdóttir’s long fascination with minimalism took a different turn in the late 1980’s with her introduction to Donald Judd, Alan Charlton, Richard Long, Carl Andre to name a few, who all came to Iceland due to their interest in the Icelandic sagas and its minimal landscapes. These friendships opened up end even broader dialogue into new avenues to where her art would eventually go. Her method of working is all about finding the emotional balance between the gathering of her materials and absorbing the experience of creating it. Gregory Volk in his essay Thinking with Things, states she shapes her materials, many of which are from nature, and brings them into very specific forms; and at the same time, they in turn shape her, and she learns from them.” This creative osmosis between Róbertsdóttir and her work is seen and felt through her mental approach, in how she combines and places her gathered elements together. It’s a merging of sorts that connects the vastness of her Icelandic surroundings with the expanse of her imagination. Whatever the shape, form or materials Róbertsdóttir’s chooses to use for her creations, they all share a similar manner in how she touches and embraces them to pull out their unique qualities. Her stone works feel a lightness of being while her lava paintings radiate with a spacial disproportion due to their multiple layering and subtle changes, as they find their final angles of repose. Tenderly contemplative, yet systematically resolved, Róbertsdóttir’s approach is both meditative and embracing as it reflects her inner self.