Daily, we have to face the ambivalence of our culture towards animals. Animals are both eaten and protected. Animals are both abused and pampered. This tension between bloody and bloodless, between carnivorous and vegetarian is at the foundation of western societies, and is reflected in our everyday choices.

The horse project vibrates like a line in tension on between these two poles. Ambivalence, compassion, hesitation, uncertainty are new terrains to navigate for contemporary designers. We cannot pretend to have universal solutions, but we should not be satisfied by posing as neutral critiques of our production systems. We are deeply involved - bloody handed for most - and we have a voice, which resonates outside of our discipline. How can we ’stay with the trouble’ and still offer new possibilities?
Words by Thomas Pausz

The Horse Project contemplates the unique situation of the Icelandic horse and traces the history of how it has been used and treated in the past both as a working animal and a friend. Ethical speculations and different opinions within the ten all female group members about using the materials from and off the animal, eating the animal and setting the animal free were topics that repeatedly came up through the course of the twelve weeks. The importance of using what the local surroundings can offer us was a unanimous voice within the group and that is reflected in the material explorations from the horse and in the book. 

01 — Horse bone burned on an open fire
02 — Horse bone ash
03 — Pigment made from horse bone ash and boiled linseed oil.

Tinna Gunnarsdóttir
Friðrik Steinn Friðriksson
Óskar Kristinn Vignisson

Garðar Eyjólfsson

Dagný Björg Stefánsdóttir
Eveline Sonja Bünter
Gudrun E. Havsteen-Mikkelsen
Heiðdís Inga Hilmarsdóttir
Hrefna Sigurðardóttir
Indre Hilara Bylate
Sigurrós Guðbjörg Björnsdóttir
Sóley Þráinsdóttir
Sunna Halldórudóttir
Valdís Steinarsdóttir