Amarie Bergman creates minimalist artworks that tend to focus on clean lines and soft colors. Born in Edmonton and now based in Melbourne, Australia, Amarie borrows from scientific concepts and aesthetics found in everyday life to create her work.
I’m quite a fan of Amarie’s works, like the ones in her recent exhibition Aqua VoVo. Showcased in a tiny pop-up exhibition space in Paris, the works are all quite small, wall-hanging pieces, focused mostly on color and shape. A series of yellow boxes in slightly varying sizes line one wall like shining lemon candies, while on the opposite wall, a tiny painting and three pink felted spheres reference the design of a popular Australian cookie, while simultaneously calling to mind science fiction concepts, or models for particles of matter.
Similarly, Amarie’s The Rosy Crucifixion consists of nearly 200 spheres of balled-up pink tissue paper arranged on the floor of a gallery space, in front of a massive black and white painting. The “rosy” spheres harken to roses, while their placement in an even grid creates a sense of geometric tension.