Produced while being in residence at the Húsavík Whale Museum, the project began with the de-fleshing of a long-finned pilot whale skeleton which was found dead in the harbour of Húsavík (North Iceland) with the help of the local community.

For the exhibition the vertebrae were placed by natural order, each of them facing the viewer, offering a different view from which the public is used to see skeletons in museums. Each vertebra was paired with pieces of paper baked with sea water (collected in the exact place where the whale was found), sea salt and ink on paper. These black, textural pieces evoke the skin of the whale when it was found in the harbour.

Osseous Landscapes is a video comprised of shots from the long-finned pilot whale bones under a digital microscope. These images offer an alternative way to look at bones and experience their structures and textures.

In addition to the visual indexing, a contact microphone was dragged across different sections - further mapping the terrain to create complementary fields of sound.

A booklet produced alongside the exhibition was published by the Whale Museum. It compiles the research and process of the project, including an introduction by Whale Museum manager Jan Aksel Harder Klitgaard, and an interview with the marine mammals curator of the London Natural History Museum Richard Sabin.

The skeleton of the White-beaked dolphin is now a part of the collection of the Natural History Museum of Kópavogur, Iceland, and a copy of the publication is in the artist book collection of the Iceland University of the Arts.

This residency and exhibition was funded by Náttúruverndarsjóður Pálma Jónssonar and Sóknaráætlun Norðurlands Eystra.