The work is inspired by the quiet, unsettling atmosphere of the A24 horror “Lamb” drawing on elements of Icelandic mythology and its deep connection to nature. Like the film, the painting merges the pastoral with the uncanny, where familiar rural imagery—sheep, open land, human figures—takes on a subtle, eerie weight.
The title Sleepwalking reinforces this ambiguity, suggesting a state between awareness and unconsciousness. The figure appears caught in a suspended moment—neither fully present nor entirely detached—moving through a landscape that feels both real and symbolic. It invites quiet speculation: she may have wandered here in a trance-like state, drawn out of shelter by something unseen, or emerged from the landscape itself, as if the boundary between human and nature had dissolved. Her lack of clothing feels less like exposure and more like displacement—suggesting vulnerability, transformation, or even a ritualistic passage tied to the surrounding environment.