The Icelandic fish book is about material and process. At the start of the quarantine, I turned inward, examining items I had collected over the year is my studio. This fish leather, which I had purchased in 2016 in Reykjavîk, had been pinned to my wall since I returned. Some bright pink cardstock seemed a perfect match, and the two-needle coptic binding a suitable stitch to mimic the organic shape of the leather. The meditative folding and sewing was soothing as the reality of the year started to set in