Thursday, May 3, 2012

artist Amie Dicke

Fashion magazines proved to be useful materials in your work. Selectively cutting fashion photos, driving nails through entire magazines. How should I interpret these works? 
The cuttings started while I was living in New York City for a year. I moved there in 2001, after finishing the Willem de Kooning Academy in Rotterdam for my then-boyfriend. New York is overwhelming. The pace. Its assertive inhabitants. And its enormous billboards. These became some sort of impressive advertisements anchor points for me. I used them for orientation, and they made me feel familiar with the city. At the same time the billboards embodied the aspects of NY that I dislike: the never-ending rush, and especially the focus on Commerciality. I started dissecting fashion photos as a way of reflection. In this way the photos became personal, and a part of myself.
There is also a hint of mutilation. Can your work be read as a rejection of the commercial industry or rejection of the ideal of beauty? 
Partly, maybe. But it is also to expression of the attraction it has on me. I can find the fashion industry and the ideal of beauty disturbing, but sometimes can not resist the urge to buy a fashion magazine.Hate love. I once banned magazines, but found myself buying one a little later. It is like an addiction and like any addiction it is difficult to quit. The balance between fascination and frustration provides inspiration.
Passive Drifter, 2008 Sculpture - Candles, wax, sugar cubes, mannequin,  wood, cloth by Amie DickeAmie DICKE Kruis III, 2008Private Property overviewOverview Artforum Berlin, Peres Projects, 2005Amie-Dicke_Freunden-von-Freunden-103 more and interview

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