MEMORIA TECHNICA (spring, summer, autumn, winter), analogue film exposures made at Sognsvann in Oslo, Norway 2015, scanned and digitally manipulated into a series of monolithic images. Artist-proof prints, 90,64 x 180 cm, sponsored by Epson Europe 2017 exposed at Oslo Art and Fashion Festival; archival ink vellum prints, 63 x 197 cm (framed 75 x 209 cm), in Naples, Italy, 2025. The vellum prints were made for the way they will age over time. The translucence of the vellum will transform into a soft yellow, and the black ink into Terra di Siena, a reddish pigment evocative of terrain. Memoria Technica imagines the paradoxical concept of eternity. The monolithic mirrored landscapes perform as markers of chronoception — the brain's subjective perception of time passing — while portraying the four seasons at a scale mirroring the human body. The artistic choices reference relationships between the earth, magnetic resonance imaging of human breathing, ancient long form scrolls, as a secular version of the Shroud of Turin.

4 panels compose the artwork, 1 of 1.

These monoliths are part of the Virtual Material body of work.

Contact for collection inquiries: mariammanart@icloud.com


Memoria Technica

An Apophatic Way of Knowing Water, analogue image exposed along the Akerselva river in Oslo, Norway 2018, scanned and artist proofs in various sizes were made for exhibitions in 2018, 2019, 2023. Printed on silk in Italy in 2025. Variations and sizes vary. Each work is 1 of 1. 
https://mariamman.net/an-apophatic-way-of-knowing-water/ 
View the installation in Calabria on this page of the website: https://mariamman.net/hava-contemporary-art-system/

An Apophatic Way of Knowing Water

Bilder er fra seri, Sublime Timescapes, lagt med filmfotografi. https://mariamman.net/sublime-timescapes/
Dette er flere størrelser til å velg på. Kontakt: mariammanart@icloud.com

Elementals: Wood, Fire, Wind, Womb

Available at DAIDDA Gallery https://daidda.no/en/collections/mari-amman
Alluvial (Ruisseau Holocene), 2018, film photography, 140 x 100 cm, 101,6 x 68,14 cm. Alluvial is a series of photographs imaging time as spirits formed in sediments of sand. The series reflects on how humans perceive concepts related to the psychology of nature and time. Ruisseau means river or stream, and Holocene is the current epoch in which we live. Alluvial residues are deposited over time in the Norwegian Lofoten islands. The endless streams of changing formations are imprinted onto analogue film, and intended to be materialised into textiles.

The concept of time has held my attention along with questions of determinacy and faith, free-will and fate. In my artistic process and way of being, I have to take long walks. I have often used the camera as a tool to guide the often overwhelming experience of living with synesthesia. Sometimes I can go for walks with a companion that understands I cannot speak the whole time because of the way I perceive time and sensory input. The medium of photography remains one of my favourite forms of communication for its sensitivity to protecting, as well as influencing, the imaginary and sublime realms of life.

When I came upon these visions in Lofoten, I was overwhelmed with the stories of time coming through the sediments of the rocks. The imaginary stories in these moments became about the souls being magnetically drawn through the moving poles of the earth and washing down the side of the mountain as sediments of life. This reorganising of forms throughout magnetics, time and sand uses the visual landscapes as a means of analysing the ways interior and exterior terrains convene. This making, unmaking, and making again mirrors the notions of cyclic magnetic currents within the geological sciences or forces orchestrated beyond human reach, or perhaps current human consciousness.  

As Rorschachian frames, the realm of the imagination is invited to open up. There are no right or wrong imagined stories. As imagination itself is woven with reality, analogue impressions impart an expediency of the primary gateway to discernment, or choice. The images do not say, how we see is how we are: instead images conjure questions of what we see and how that is influenced by ideas. I want to get more direct contact with the subtle realms laying behind or beneath, streaming through forms of materials and consciousness.

While the images point to the perception understood in contemporary paradigms as pareidolia, I wish to present these images in the interest of exploring societal configurations, such as the relationship to the etheric realms where sensorial and supra-sensorial entities were accepted as real as any other density of life. Densities of life, from an animistic understanding realises a pathology of imaginary perception with a different point of inflexion: meaning instead of taboo and subjugated or classified and aggrandised, there is a middle way right here and now. Through a sober joining of imagination and the sublime, the viewer is invited to step toward the-real through the experience of looking.  

Furthermore, I continue wondering what logic or systemic ideas proliferating a misunderstanding that humanity has in place that reinforces the loss of biodiversity through the war with the imaginary realm (right/wrong consciousness).

Alluvial (Ruisseau Holocene)

Over a Streambed a Body Formed in the Light Refracted in Waves, 35mm analogue analogue image exposed on Kodak Gold film in 2018,  along the Akerselva river in Oslo, Norway. Digitally scanned made into artist proofs in various sizes for exhibitions in 2018, 2019, 2023. 138 x 98 cm silk prints made in Italy in 2025. Variations and sizes vary. Each work is 1 of 1. 
https://mariamman.net/over-a-streambed-a-body-formed-in-the-light-refracted-in-waves/
View the installation in Calabria on this page of the website: https://mariamman.net/hava-contemporary-art-system/

Over a Streambed a Body Formed in the Light Refracted in Waves

Movimenti (Transito), 2015, analogue exposures, limited edition prints sponsored in 2018 by Epson Europe; 1 of 1 silk prints made in Italy TBD. 

Beautiful and grotesque, the images exposed on film were manipulated to enhance film grain to recognize spaces and gaps in utopian, technocratic ideas relative to reality. The gentle waves in an iridescent color palette reflect the axiom "as above, so below," through Perniola's concept of trânsit,* describing "reality as a stratification of surfaces." The meaning, while open, invites considerations of the viewing field as a portal. As a visualized experience of a multi-layered reality, the images offer a realization of the plausibility of multi-locality and non-locality (holding two opposing things as true in the same moment). 
https://mariamman.net/movimenti/ (*Research paper follows the presentation.)

 Contact for details and clarification: mariammanart@icloud.com

Mari Amman

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