Nature's Church Window Painting

Mari Amman (b. 1984, Dixon, Illinois, USA) is a multidisciplinary artist. Her first public exhibition in 1999 was a land art sculpture. She works with images, installations, poetry, performance, painting, sculpture, video, textiles and design. Geological Empathy and Sublime Rheology are concepts underscoring her interest ways the imaginary realm influences reality. Amman is a European Innovation and Technology Culture Creativity Expert Evaluator. She collaborates with biology, technological and geological scientists, music, architecture, and culture professionals. Noted recognition of her works include: Omniscient, monolithic image and text, was awarded 1st by the jury in the Imaging New Eurasia exhibition at the Asia Culture Center, in Gwangju (SK, 2015). Afjordance screened during AWMAS (UCSB, 2020). She was poet and artist-in-residence in Paris (FR, 2023), Bonny Doon (US, 2022), Kjerringøy Land Art (NO, 2020) guided forest bathing and presented Sublime Timescapes, Art Farm Iowa (US, 2023); Arte Expuesto (MX, 2023), Stefan Simchowitz (US, 2020) exposed and collected her work. She researched trauma psychology and developed a practical method for transmutation at Angelot-Trélex (CH, 2019), participated in PraksisOslo, Praxisdansfestivalen, and a Butoh residency with Mushimaru Fujieda at KHiO (NO, 2017, 2018). She holds a Master of Fine Art (Honors) with Frankfurt School Theory/Conceptual Studio Practice from Otis College of Art and Design in Los Angeles, California (2015), and Bachelor of Fine Art (Dean's List) in Advertising/Interior Design from Illinois Institute of Art (2006), Photography and History of Photography at College of Lake County in Grayslake, Illinois, and Social Psychology at Ehime University in Matsuyama, Japan (2012). Artistic research projects Aesthetic Resonances, Pozzolana, and Landcape-Memory-Eros developed from pedagogical methods for Pattern Recognition, Visual Literacy, and Body Architecture. Her interest in the quixotic and understanding through arts arose from being raised near the Agonic line, surrounded by forest, prairie preserves, a nuclear power plant, industrial agriculture, and autoethnography with her paternal heritage to political activist Ellen Ammann, landscape artist Harriet Sundström, and maternal Italian (UM) heritage.