Arna Beth
Contact & Links
arnabeths@gmail.com
IG
SoundCloud




Selected Projects



    Arna Beth is an Icelandic / American multidisciplinary artist based in London. Working with the assemblage of digital media, speculative futures, and cultural critique of the postmodern. Her practice spans 3D fabrication such as sculpture and animation, performance, sound, and recombinant material processes. 

    Through frameworks of critical theory kin to xenofeminism, dromology and necropolitics, Arna constructs immersive, non-linear narratives, attempting to destabilize a dromocratic present.

    Self-composed sound, fabrication, and embodied performance mark an evolution toward more immersive, bodydriven work. Collaborations with curators and technologists continue to refine her spatial and political praxis, weaponizing aesthetics against the systems they mirror.



    CV: Exhibitions / Design / Performances / Residencies



    2025:

    • Boundary Condition, St. Garlickhythe Church, London, UK

    • Manifest: IO, Goldsmiths, University of London, UK

    • Club Are, London, UK

    • Various collaborations with Gisou Golshani, visuals and performance (Iklectik ArtLab, Cosmic Ecologies at Metamorphika Studios, Old Church, Goldsmiths University)

    • Silver Sky by Barbara Kaczmarczyk -  3D models for indie video game

    • Metamorphika, Cosmic Ecologies by Ana P Flores, London, UK

    • SÍM Residency + UKAI Projects, Korpúlfsstaðir, Iceland

    • Alexandria’s Genesis, directed by Dian Joy, Arebyte Gallery, London - produced graphics for a fake website for the short film

    • Grapevine Magazine Cover - 3D design, Iceland

    • Album cover for Jack Armitage (Lil Data), Magnetic Resonator Piano, 3D sculpture and render, Iceland/UK



    2023:
    • Club Are, London, UK
    • Lewisham Art House, Groupshow + Event poster, London, UK
    • Iklectik Art Lab, AV Performance, London, UK
    • Hafnarborg, Exhibition, The Hafnarfjörður Centre of Culture and Fine Art, Iceland
    • Fischerssund Perfumer, Reykjavik, Iceland — sales and guided tours
    • Control, music video for Azadi - produced 3D visuals, London, UK
    • Various collaborations with Gisou Golshani, visuals and performance, London, UK
    • Sleikur, produced 3D posters and visuals for club events (2022–2023), Iceland




    2022:

    X3, Amsterdam, Netherlands
    • Lava Rituale, Akademie der Künste, Berlin, Germany
    • Gunnar Jónsson - S.W.I.M. , a 50-minute album-length music video — directed and produced animations
    • Tricky, album cover design
    • Sideproject - Come Get Me, music video, Iceland
    • EnduranceCPH, graphic designer (2021–2024) — posters and PR material, Denmark




    2021:
    • Kælan Mikla - Ósýnileg, music video - produced and directed, Iceland
    • Winter Festival Reykjavík, commissioned short film, Iceland




    2020:
    • Festival of Lights, Iceland
    • Geigen Galaxy Collaboration, live performance production, Tjarnarbíó, Iceland




    2019:
    • Decoratelier, Installation and film, Residency, Brussels, Belgium
    • Lunga Festival, Live, AV, Iceland
    • Listahátið Reykjavíkur (Reykjavík Arts Festival) - produced and performed in show




    2018:
    • Sónar Reykjavík, AV performance, Iceland



    Education:

    • MA Fine Art: Computational Arts, Camberwell College of Arts, London, UK — 2024–2025 (expected)
    • BA Fine Art: Computational Arts, Camberwell College of Arts, UK — 2023–2024 (1 year completed)
    • Matriculation Degree, Reykjavík School of Visual Arts, Iceland — Graduated 2019



    Arna Beth x Song Xin at Somers Gallery

    11. February 2025


               
    Invited to collaborate on a 15-minute performance for The New Continuum at Somers Gallery, we developed a ritualistic exploration of form and control using polymorph plastic, a material that melts in hot water and remains briefly malleable. Stretching, pulling, and pressing the plastic over a wire armature, we generated fleshy, semi-transparent shapes, each uniquely distorted as they cooled into permanence.

    The atmosphere was charged with strobe lights and fog, evoking an apocalyptic tension. A laser acted as a guiding force, shifting focus between stages of creation while subtly referencing medical and military precision. The soundscape, composed in Ableton, unfolded in six acts, blending Phrygian-scale melodies, arpeggiated synths, and ghostly pads with the metallic clatter of reloading rifles and the reverberated decay of gunshots—merging the organic with the mechanized.

    Our uniforms enforced anonymity, casting us as drone-like agents of an unseen directive, yet subtle variations hinted at repressed individuality and eroticism beneath the sterile facade. Originally, we experimented with embedding lasers into our hands using polymorph, but the performance evolved into a dynamic, real-time sculpting process, with the laser mounted above to project onto the evolving forms. The result was a transient, hybrid entity—born from the collision of ritual and control.