Platonic Forms Print

Mari Amman is a multidisciplinary conceptual artist based in Norway, traveling worldwide for research and work. Her interest in the sublime results in artwork riding lines between secular and sacred, questioning apparatuses and nuances that denature or conserve. Oriented through a historic, field-study, artistic research approach, with rheological attention to ways the subconscious and somatic reveal, Amman creates images, installations, videos, poetry, performance, paintings, sculptures. Focused through the parietal aspects of perception, and rooted in transcendent experiences of beauty, her work invites viewers into afferent spaces of contemplation on timeless themes raised throughout history within relationships between technology, science, mortality, violence, landscape and built environments. Her Nordic-Italian ancestry to political activist Ellen Ammann, landscape artist Harriet Sundström, and notion of Geological Empathy inspired her to create Aesthetic Resonances, based on pedagogical methods for human skill enrichment in Pattern Recognition, Visual Literacy, and Body Architecture. Her formative experiences being raised near the Agonic line, surrounded by forest and prairie preserves, a nuclear power plant, and industrial agriculture fuel her philosophy, music, dance, art, and practical skill development for creating reverence. Her work is widely collected in private and public collections. Numerous prizes and artist residencies have been awarded to Amman's work. Her sensitivity for life is expressed in her involvement with foundational and cultural projects of Art Farm Iowa (US, 2023) and Arte Expuesto (MX, 2023), both of which exhibit and collect her work. Her diligence to the moral significance and nuanced difference of evolutionary biology is expressed through artistic research in technology and sciences, such as Solfège Souche and Afjordance screened at AWMAS (UCSB, 2020). Omniscient, monolithic image and text was awarded 1st by the jury in the Imaging New Eurasia exhibition, at the Asia Cultural Center in Gwangju (SK, 2015). Poet and artist-in-residence for two-months in Paris (FR, 2023), three-months in Bonny Doon (US, 2022), a month in Kjerringøy Land Art (NO, 2020) where she spoke about analogue photography, time and form in Sublime Timescapes and led Forest Bathing. She developed trauma informed pedagogical methods and psychological research at Angelot-Trélex (CH, 2019).