MEMORIA TECHNICA, 2015 - 2017, a series of 5 monolithic images, sizes vary, recent exhibition of the monoliths measured 90,64 x 180 cm ( 35,68 x 70,87 in ), Film exposures realized as seasons, axiomatically marking the vertical landscape in relationship with the human body in magnetic resonance imaging. Reflected and refracted rays form a curvature filled and hollowed by literary translation of tactile qualities associated with the four seasons. The monolith as markers in chronoception - the sense and perception of passage through time. These monoliths are part of the Virtual Material works. https://mariamman.net/monoliths/

MEMORIA TECHNICA

An Apophatic Way of Knowing of Water, er fra seri "Sublime Timescapes." https://mariamman.net/sublime-timescapes/
Dette er flere størrelser til å velg på. Kontakt: mariammanart@icloud.com

An Apopheic Knowing of 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)

Trânsito, 2015 - 2018, Oslo, Norway, analogue photography. The artwork delves into the "reality as stratification of surfaces" through Perniola's concept of transit.* From this work, limited edition prints, public art installations, and material applications such as wall coverings, mosaics, metal, acrylic and custom panels, facades, projections, textile and garments, and product applications with Kinetic Facades, Artaic Custom Mosaic Tiles, Equitone Fiber Cement Facade, Acrylic or Textile Panels, Metal with substrate installation systems, and Projections follow the images. *Research paper follows the presentation. https://mariamman.net/transito/ 

An iridescent color palette reminiscent of oil and visual surface of water joins in the imaginary realm as a means to consider the implausible, as possible, to create new intelligence defying previous assumed knowledge or reason. Trânsito reflects the heavens in the gentle surface ripples, looking at phenomenological discourses in painting and photography through the ethics of resource usage in technocratic times. The granularity of the analogue, chemical process in photography translated into digitally scalable pixels are emphasized to draw attention to the passage of movement in stillness, paradoxically making viewers feel as if they are moving while standing still. Developed alongside Teknovisuell Experience on the degradation of technology through repetition to find how the perceived problem presents the solution based on distances in viewing. The physiology and psychology of the body viewing, and mechanical apparatus of photography are thus focused on sensorial memories of beauty, love, reason, and enlightenment. Trânsito is part of Virtual Material body of work, exploiting photography while engaging in phenomenological subjects with water, stones, forests, technology, vision, body, perception, ethics. The Virtual Material body of work includes: Trânsito, Teknovisuell Experience, Sonidos, Fleuressence, Relatively Dimensional Still-Life, 1919 in 2017, videos, installations, as prints, projections, wall coverings, acrylic prints, garments. Contact: mariammanart@icloud.com

Mari Amman

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