PICTORIAL FOUNDATION | RANNSY BJORK

RANNSY BJORK

Mosfellsbaer ICELAND

I am an Icelandic photographer currently studying Creative Photography at Ljosmyndaskolinn in Reykjavik. With a background in oncology nursing and certification in mindfulness instruction, I approach photography as both a meditative and expressive practice. My work is drawn toward abstract, impressionistic, and expressionist explorations that interpret emotion, memory, and inner experience.

My work has been featured internationally in publications including ArtDoc Photography Magazine, On Landscape, ICM Photography Magazine, and Spectaculum Magazine. In 2025, I presented my first solo exhibition in Iceland.

Working across landscape and portraiture, I use Intentional Camera Movement and Multiple Exposure techniques to create painterly images that are refined through Adobe Lightroom and Adobe Photoshop, without the use of AI. Through these processes, I seek to move beyond straightforward representation, creating images that evoke atmosphere, feeling, and psychological presence.

ARTWORKS

Acceptance I (Shadow Work) (2026)

RANNSY BJORK

photograph on 100% cotton paper
24H x 36W in (60 x 90 cm)
$6000 (whole project - edition 1 of 2)

The most terrifying thing is to accept oneself completely. - Carl Gustav Jung

“This ongoing project examines the relationship between light and shadow through the conceptual lens of Carl Gustav Jung’s analytical psychology, with particular emphasis on the notion of shadow work. In Jungian theory, the shadow encompasses those aspects of the psyche that are repressed, unacknowledged, or excluded from conscious self-representation. Rather than framing darkness as absence or negativity, the project approaches it as a generative psychological and symbolic space.

The visual language draws from two primary sources: self-portraiture and elements of the natural world. These subjects are sometimes treated independently and at other times merged, allowing human forms and natural structures to intersect and dissolve into one another. This merging reflects the conceptual intent of collapsing distinctions between inner psychological states and external environments. Light and shadow function as central formal and metaphorical devices throughout the project. The project is informed by Jung’s assertion that “one does not become enlightened by imagining figures of light, but by making the darkness conscious,” positioning the act of engagement with obscured or unresolved material as essential to psychological integration.”

Acceptance II (Shadow Work) (2026)

RANNSY BJORK

photograph on 100% cotton paper
24H x 36W in (60 x 90 cm)
$6000 (whole project - edition 1 of 2)

The most terrifying thing is to accept oneself completely. - Carl Gustav Jung

“This ongoing project examines the relationship between light and shadow through the conceptual lens of Carl Gustav Jung’s analytical psychology, with particular emphasis on the notion of shadow work. In Jungian theory, the shadow encompasses those aspects of the psyche that are repressed, unacknowledged, or excluded from conscious self-representation. Rather than framing darkness as absence or negativity, the project approaches it as a generative psychological and symbolic space.

The visual language draws from two primary sources: self-portraiture and elements of the natural world. These subjects are sometimes treated independently and at other times merged, allowing human forms and natural structures to intersect and dissolve into one another. This merging reflects the conceptual intent of collapsing distinctions between inner psychological states and external environments. Light and shadow function as central formal and metaphorical devices throughout the project. The project is informed by Jung’s assertion that “one does not become enlightened by imagining figures of light, but by making the darkness conscious,” positioning the act of engagement with obscured or unresolved material as essential to psychological integration.”

Acceptance III (Shadow Work) (2026)

RANNSY BJORK

photograph on 100% cotton paper
24H x 36W in (60 x 90 cm)
$6000 (whole project - edition 1 of 2)

The most terrifying thing is to accept oneself completely. - Carl Gustav Jung

“This ongoing project examines the relationship between light and shadow through the conceptual lens of Carl Gustav Jung’s analytical psychology, with particular emphasis on the notion of shadow work. In Jungian theory, the shadow encompasses those aspects of the psyche that are repressed, unacknowledged, or excluded from conscious self-representation. Rather than framing darkness as absence or negativity, the project approaches it as a generative psychological and symbolic space.

The visual language draws from two primary sources: self-portraiture and elements of the natural world. These subjects are sometimes treated independently and at other times merged, allowing human forms and natural structures to intersect and dissolve into one another. This merging reflects the conceptual intent of collapsing distinctions between inner psychological states and external environments. Light and shadow function as central formal and metaphorical devices throughout the project. The project is informed by Jung’s assertion that “one does not become enlightened by imagining figures of light, but by making the darkness conscious,” positioning the act of engagement with obscured or unresolved material as essential to psychological integration.”

Acceptance IV (Shadow Work) (2026)

RANNSY BJORK

photograph on 100% cotton paper
24H x 36W in (60 x 90 cm)
$6000 (whole project - edition 1 of 2)

The most terrifying thing is to accept oneself completely. - Carl Gustav Jung

“This ongoing project examines the relationship between light and shadow through the conceptual lens of Carl Gustav Jung’s analytical psychology, with particular emphasis on the notion of shadow work. In Jungian theory, the shadow encompasses those aspects of the psyche that are repressed, unacknowledged, or excluded from conscious self-representation. Rather than framing darkness as absence or negativity, the project approaches it as a generative psychological and symbolic space.

The visual language draws from two primary sources: self-portraiture and elements of the natural world. These subjects are sometimes treated independently and at other times merged, allowing human forms and natural structures to intersect and dissolve into one another. This merging reflects the conceptual intent of collapsing distinctions between inner psychological states and external environments. Light and shadow function as central formal and metaphorical devices throughout the project. The project is informed by Jung’s assertion that “one does not become enlightened by imagining figures of light, but by making the darkness conscious,” positioning the act of engagement with obscured or unresolved material as essential to psychological integration.”

EXHIBITIONS

Code Girl

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RANNSY BJORK

Mosfellsbaer ICELAND

ARTWORKS

EXHIBITIONS