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Dreamie art4/16/2023 ![]() ![]() ![]() ![]() After 9.30pm they do not need a ticket,” says a spokeswoman. “Visitors can access the installation at any time. Eliasson writes that “even if no human visitors are in the space, other beings-insects, bats, or birds, for instance-can fly through or take up temporary abode within it.” This possibility is very much part of the work, with the artist adding that when he first spoke to the museum’s director Sam Keller about ideas for the show, he thought to himself: “Why don’t we invite everyone to the show? Let’s invite the planet-plants and various species”. The southern side of the building will be open to the elements for the duration of the show, which ends in July. In an accompanying artist statement, Eliasson writes: “Together with the museum, I am giving up control over the artwork, so to speak, handing it over to human and non-human visitors, to plants, microorganisms, the weather, the climate-many of these elements that museums usually work very hard to keep out.” The water has been coloured using uranine, an organic dye that is commonly used to observe water currents, and which Eliasson has used previously for his Green River (1998) work where he dyed rivers in cities such as Stockholm, Tokyo and Los Angeles. She went on to work in womenswear for seven years, designing for brands such as Topshop and ASOS.Eliasson has also dyed the water a fluorescent green and filled it with pond plants, including water lilies and shellflowers selected by the landscape architect Günther Vogt. Told by her art and design tutors after high school that she would never make any money as an artist, Beager studied fashion design as an undergraduate at Nottingham Trent University. For several years, fashion wasn’t just artistic inspiration for Beager, but also her day job. “I aim to create compositions that are dramatic, romantic, and poetic,” she said in an interview with Artsy.īeager draws on various eclectic sources-from Greco-Roman and Renaissance sculpture to back catalogues of Vogue and vintage erotica-to inform her compositions. Beager’s process, which the artist describes as experimental, involves building up several layers of color by starting with spontaneous shapes that are then adapted into scenes and narratives. The bottom of the composition dissolves into pure abstraction with dabs of yellow, white, and red paint marking the pink background. The pair floats under a towering Grecian archway while surrounded by purple clouds. In Weaving Through a Dream (2022), for example, a green-hued woman mournfully clutches a swan in a close embrace. With loose, sweeping brushstrokes and a color palette of bright pinks, purples, greens, and reds, Beager creates the impression of a dreamlike, mythical universe. This story is the main inspiration for Beager’s latest solo exhibition and first with Kristin Hjellegjerde Gallery in London, “ Swan Maidens.” The paintings, on view through October 29th, depict sumptuous female and swan forms, often closely intertwined or entangled. Beager was particularly drawn to the tale of the Swan Maiden, in which a mythical creature, able to shapeshift between human and swan forms, is forced to marry a young man who stole her feather garment while she was bathing. Once back in her studio in England, Beager started researching the symbolism behind these white birds more deeply. The image of these elegant creatures living and nesting strengthened the artist’s existing interest in the winged animal. During her time at the CloverMill Artist Residency this past spring, Amy Beager stayed in a converted watermill in the remote Dutch countryside, surrounded by flocks of swans. ![]()
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