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Sourcing a lifelong practice and study with Movement (formal dance training, yoga and qi-gong), breath-work and meditation for heart and nervous system regulation, writing, photography, visual and spatial arts. This page is a sample of workshops and courses offered. Arrange courses and workshops in English and/or Norsk:  |  Booklist/Suggested Reading




activates and explores the body as architecture of personal and public space. The body serves as the primary complex and sensorial contact in Locus of Control. Locus of Control is about the sense of agency (or responsibility) for being influenced by what surrounds our bodies and the ability to influence what surrounds our bodies. One of the goals of the workshop is to create a healthy balance within the individual and group. Extensive research in psychology and neurophysiology back the methods of play, interactivity, and practice for small and large groups. 


General Workshop Format 

      • 3 exercises within 1-1.5 hour format including warm-up and cool-down:
      • Make the body to mirror the architecture.
      • Make the body form by individual choice.
      • Make the body of group members into forms organically chosen by the group.



Public Event for BOHO Open House Oslo atSentralen, Øvre Slottsgate 3, 0157 Oslo, Norway




      • 60- 90 minutes
      • 120 minutes
      • 1/2 day 















VISUAL LITERACY courses focus on development of critically thinking and understanding visual cues. The Visual Literacy course makes use of still and moving images to teach histories and perspectives in meaning making. Reading images by signs, symbols, contexts of history and art history. The course utilises photography with students and refers to history in art and photography for learning. Students make their own photos and learn how to write and speak about the meaning of their signs, symbols, and historic context. Archetypes, narrative structures, abstraction and representation, and incorporating Roland Barthes, Death of the Author, the course examines the roles of the viewer and viewed. Going through graphic design, history of painting, photography, film making, historic contexts and propaganda. The aims are to cultivate understandings in the ways subjects are imagined and projected, and provide the critical thinking skills necessary for students of all ages to navigate communicating through images.



ONE Reading, conversations and practice with: spectral light frequencies, pigments, black and white, affect, focus and framing.



TWO History of painting and the instances where these figures and themes repeat ancient allegory and archetypes today. Assignments: create visual and written documentation of chosen archetypes and subjects.



THREE Film making and ghost images. This segment goes into the psychology of the subject and ways objects are made and projected. Readings of Kafka and others, with group conversations on film analysis.



FOUR Timing, context and decoding propaganda. Reading graphic posters, symbols, and comics. Reading and assignment to create poster or comic.








PATTERN RECOGNITION METHOD, (teaching and artistic process), meditation, drawing, movement, writing, video. This method began developing from 2014/2015 through 2021 and is protected by intellectual property rights; for interest, permissions of usage:

The program is based on a method of kinaesthetic learning of mental modeling. Meditation, drawing, and physical movement create visual results within an individual and group dynamic. The multisegment process was formed for the basis of: art making, teaching, and counsel. Pattern Recognition was built alongside artistic research projects Solfége Souche, Afjordance, and ÆSTHETIC RESONANCES. Pattern Recognition Projects are involved with the field of Embodied Cognition. apply principles in John Haugeland’s book on Artificial Intelligence and Pedagogical writings on Locus of Control, in methods of learning through doing. Designed to develop critical thinking skills while forming healthy relationships and understandings with terrains and temporality, the methods serve as means for new connections and realisations within the practitioners. Pattern Recognition works dynamically with memory, behavior, lineage, choices, and agency with individuals through the Vision and Body Relationship, including coordination and motor skill development. While Pattern Recognition is most commonly associate with machine learning, the method is also useful in analytical settings for personal and professional understandings. There are presently seven segments with room for performance, sound and technology collaborations.








The first step is to experience a sensitised exploration of the environment, such as the practice of Forest Bathing. City environments can also be used. Through meditation and movement to go into contact with intuition. The intuition guides the gathering of materials from the environment.







The second step is to draw materials from the environment. Following an axial rotation similar to the scientifically reported rotation of the earth, the faces (planes) of the dimensional materials are drawn. In this example, drawings were made, the tracings make the under-layers visible on the new top layers of tracings. The concept is to make the impressions of the dynamic modes of axial rotation visible. The practice brings awareness to the memory and sensory ways a visible detail can fade in visibility but remain within under-layers.







The third step is involves Visual and Somatic Memory. The lines drawn in the previous exercise are performed as body movements. Exercises are practiced independently, leaving room for personal interpretation. A group environment affords the opportunity to coordinate independent movements into a group arrangement of movements. Records of these practices are used for reflection and to witness development of reflexive awareness over time.






To experience nature and nurture concepts of impression and transference, two transferrable materials are used with water and pigment. Other materials can be useful. For the sake of providing an example, gouache paintings with two pieces of paper follow 2 different impulse. The 1st impulse to paint from memory; the 2nd impulse to paint from a photo. To look at differences between making something look like something else or using memory (embodied sense of experience) – the gouache painting exercise was carried out by making compositions based on memories of witnessing detailed areas of water flow, and composing paintings based on looking at a photograph. Viewers reported seeing the difference of reference from memory or image. The gouache paintings were done on the “wrong side” of Japanese Washi paper, to transfer the pigments onto acid-free, black papers. The pigments left traces similar to the way a memory becomes a trace of lived experience or ways communication of forms become transferred onto what is underneath or nearby. In addition to discerning differences in how forms are made by hand from referencing external or internal referents, is also considering the process of transfer. As the original can become a symbol for reading-as reading a book or remembering a book, the paint transferred to the surface under becomes the information absorbed.






A mirroring exercise, completed with language and/or illustration. By writing a letter in reverse, to see how it appears through a material and in a mirror. The practice is based on the mechanics of a single-reflex camera and the way the eye perceives reality directly which is then flipped in the brain. This practice develops understanding of communication and the two-way nature of the way read symbols are transmitted and interpreted.






A relational exercise, completed with vision, drawing, space and relating. Participants have each a drawing tool and paper. They interlock arms and being to simultaneously draw a portrait of the other. While drawing the awareness of space, cooperation, coordination, patience and additional soft qualities are activated. After the process is complete, a portrait reveal and discussion follows the activity. This practice develops understanding of the dynamic relating skills people engage with their vision and experience of reality.







The method builds a process to be performed. The activity can be performed as a solo, duo, or in a group organisation. There is no limit to the number of participants, only that the processes are done a priori to the perfuming of the lines and learnings with the body. The next two segments can be one or the other, or both of them. The performance is to be recorded. The performance can be done in private or to an audience.













Students choose and place pigments on paper, paper is rolled, and collected by group leader. An outdoor, mindful hike brings the group to form a circle prior to other exercises. In the circle, students practice breathing and body exercises. Students are then guided to choose trees, by hugging and pressing each tree with their paper, the students are verbally guided to tune-in to feel the tree and their experience. The group returns together to discuss their experiences in an open format. There are no wrong answers and the space is safe for open sharing. The students are then guided back to the school to allow their papers the dry. The paper is later glued onto the group scroll for created a history of the course. The course is conducted in English and/or Norwegian. The format allows for adaptation to students and situations. The course engages in sensing, feeling, mindfulness, cooperation, and engages confidence. She has 23+ years of experience in mindful practices of meditation and yoga, and in art, performance, installation, and communications.



STUDIO VISITS  are personalized mentorship, portfolio reviews or more structured consulting focused on your creative projects and ideas. Resourcing international and lived experiences as a professional artist, the offered resources and actionable ideas support individual and project development.


Phone, Video, Walks, In Person:

    • Complimentary 15 minute Consultation
    • 60 – 90 minute sessions 100 – 250us/eu, 1.000 – 2.500nok
    • 20% off multi-sessions 



Mentoring Selections:

    • Structural Dynamics (one-on-one/small groups)
    • Art reviews: photo, painting, sculpture, drawing, design, writing, installation, video (one-on-one)
    • Movement Coaching (one-on-one/small groups)
    • Photowalks (cultivating your vision and understanding perspectives through photography) 
    • Writing and Editing Statements, Presenting and Marketing Your Work (one-on-one/small groups)



Additional à la carte services:

    • Project Editing & Sequence: 500us/eu, 5000nok
    • Portfolio Review, Project Response, Artist Statement, Biography: 300us/eu, 30.000nok
    • Website Consultation or Website Design Packages: 1500 – 8000 us/eu,  15.000-80.000nok







Payments Secured by Stripe




Feedback on Mentorship and Portfolio Reviews

Mentorship with Mari changed my life. I started going to her when I was in graduate school for fine art in Los Angeles. I was struggling with my studies and art practice, and my whole mind, body, and spirit seemed to be in a rut. I had recently gained a lot of weight during undergrad, and was nor feeling great about myself, which showed in my work. Mari introduced me to a new way of thinking, to live my whole life like art.  She taught me yoga, which I still practice religiously to this day. Mari came to my apartment and examined the contents of my pantry and refrigerator, advising me on what will facilitate reaching my health goals.  She took me shopping and taught me the benefits of unprocessed foods, and then instructed me on how to cook and prepare nutritious, healthy meals, while taking into consideration things like my taste profile. Meditation and mindfulness were keys to unlocking my creative potential, and Mari made me videos to guide me. We discussed art at great lengths, in particular photography. Most of all, her empathetic approach of creating all things with love, but with a critical eye, led me to success. And the success was astounding. Through the merging of a healthy mind, body, and spirit, my artwork blossomed into greatness.  I graduated from art school and received the top award from the faculty.  In the year following school, my weight dropped from 275 pounds to 235. Most important of all, Mari Amman helped me find and love myself.  Through my continued yoga, meditation, healthy eating, and living life like art, I find happiness and inspiration in all I do. Bryan, Houston, TX, USA



I will always remember Mari’s willingness to help me in my time of need.  It takes a very special person to lead in this important work. I admire her energy and organizational abilities. Please accept my sincerest thanks. Emily, Muskoka, Canada



Thank you very much for taking your time to write very valuable review for my photographs. First of all, please accept my sincere apologies for the delay in replying your review which was due to some accidents that happened to me in the last month. I really appreciate with your thoughtful comments and advice on my work. Although I submitted many photographs (maybe too many… I’m sorry!!), you gave me helpful advice in many of them.. that is what I have not expected… I am really grateful for your kindness by doing this. Every comments and information you gave definitely help me to improve both of my skills, presenting my best photographs for each occasion and getting jobs as a photographer. As you pointed out in the comment, I still find some difficulties in choosing ‘the most powerful photos’ for each competition. It may be because my lack of experience for presenting my works to the public and also lack of observations on how the things work in the area of competitions. I really need to study and do more researches over that theme to get better presentation skill. I am very grateful to you for mentioning my strong points in my photography. It encourages me a lot and push me forward to try another competition. Thank you again for taking your time and giving me valuable advice. Hope to see you in another competition. Best regards, Mika




Thank you very much for your valuable comments. I opened your review, just hoping that my photographs are considered meaningful, and now I am so relieved that you are interested in my photographs. I was thrilled and excited while taking these photographs, but I was not sure that these can be accepted by people because of the unique approach of these photographs. Your review gave me enough courage for me to keep working on this series. Thanks so so much. I also could feel your generous support in the review. I am not in contact with the universities(I have not studied photography in the university yet), but if there is any opportunity to expose my photographs to people and there is the places that are interested in my photographs, I am willing to try and challenge myself. I sincerely hope to stay in touch with you. Again, I really appreciate the time and effort for the reviewing of my series. Your review was the valuable gifts to me in the ongoing learning process of photography. Sincerely, Hee Jung Kim



I really thank you for the time you spent reviewing my work! Your advices and recommendations are very useful! THANK YOU!!! (anonymous)



I have received a very encouraging review for my work sent for the portrait awards. It was really nice to see that my work is so thoroughly understood. Thank you in advance, Ploutarcos Haylofts, Greece



Thank you very much for taking the time to not only provide detailed feedback to my questions, but also in offering extended/related advice. Also, wow, thank you very much for the list of sites. I have come across 2 or 3, but I feel it would have taken at year plus to have found the remainig sites. Again, thank you!  Josh



I would like to say a big Thank You. Truly insightful. I felt really inspired after reading. The parallel between goals in advertising (my present job – what do you want your audience to do) and goals in photography – what do you want you audience to see… this is so helpful. I’ll try and craft my point of view, as it appears to be the key of everything! Thanks again, Florian de Lomme



I’m very happy with the review about my series of photos. Thank you very much for your guidance and suggestions. They will certainly enrich my research and photographic achievement of the project. Thank you very much! Marcio



Many thanks for the thoughtful, well-considered review. I have a lot of doubts about this project (whether it is viable/ relevant/ worth pursuing) so it is important and encouraging to hear from someone who spent time looking at the work. It’s interesting to see how you re-ordered the photographs (I had a different idea in mind which — it appears — contrary to what I had imagined, proved illegible/difficult to grasp for someone who does not live in Japan). This is a valuable experience for me. I also very much appreciate your point regarding formats — especially if we look at this particular set of ten photographs (they were selected from a much larger set of verticals and horizontals). For now, once again — many thanks for all your thoughts and comments; they have been very helpful, and yes, of course, I do want to stay in touch. Kind regards, Magda



Many thanks for your thorough and thoughtful critique dear artist. It gives me courage to continue. I’m currently working as an office employee which allows me to shoot what I want, but in my very limited time. I want to have one year to get prepared for doing it professionally, but let’s see what I’ll find this year.



In-depth review! Thank-you for an incredibly thorough critique that will provide helpful information going forward. Professional insights and advice such as provided in this review are invaluable tools in preparing for future submission calls and proposals. As an emerging artists one can only be grateful for such input.



Extremely helpful feedback provides me with both optimism of hope and confirmation that my many years of both time and hard work is essential. Your re-editing the sequence and explanation made perfect sense; definite a ha moment! Encouraging to see you “get it” and acknowledgement that my contemplative “nature” work has a place in the art world. Thanks so much for your thoughts on agents, galleries, etc., plus all the resources provided. Love your advice of “art is the practice of attrition; keep at it, you’ll find your way”. Other than talent, I believe resiliency is a key factor as well.



I would just like to thank you very much for taking the time to write such a detailed and helpful review. It’s really helped to clarify things and point out the different paths I should try pursuing… The suggestions at the end are also really useful and I look forward to exploring. Thanks once again! Suzanne



Thanks for the words of encouragement, I had a moment of my life with health problems and I lost a few years, but now I’m healthy again and recovered with a thousand engine. And I will make the various contacts and proposals you have recommended to me, thank you very much, the work of an artist is difficult and long, but it is what I love and I need to live. Thanks again heartily.



Hello and thanks so much. This project I agree has some work to be done. Your points of view are very much appreciated and in the past few weeks I’ve had time to review the statement alongside the works and also agree that there is a bit of a disconnect between the words, ideas around the work and the work itself. To me this review has helped me answer my own questions that I’ve been asking myself in regard to how this project works as a whole. I realized going in that blending the singular objects or characters with the different formats and very different looking images, full of characters is risky and a bit of a stretch.  I want you to know that I take the observations seriously and can learn from it. Keep up the good work. Cheers! Happy New Year. All best. Steven



Your feedback on my work is very encouraging! Thank you for taking time to consider my work and support my efforts to grow in this part of my research. I appreciate how you considered the information I provided while giving me tools to push the work forward, both in its esthetic development and exposure. I am exceedingly grateful and I am also happy for the other artists who are fortunate to have you review their work as well. Best wishes, G



Suggested Booklist and also on Goodreads. Individual Readings Assigned. 

Sensitive Chaos, Theodore Schwenk

The Body in Pain: The Making and Unmaking of the World, Elaine Scarry

Identity: Why What You Think About Yourself Doesn’t Matter, Robert Fritz and Dr. Wayne Scott Andersen

Your Life As Art, Robert Fritz

The Open Work and Chronicles of a Liquid Society, Umberto Eco

Plato Not Prozac, Lou Marinoff

The Vision of the Anointed: Self-Congratulation as a Basis for Social Policy by Thomas Sowell

The Collected Stories of Lydia Davis, Lydia Davis

On Being Blue, William H. Gass

The Fatal Conceit, F.A. Hayek

The Eternal Moment, Estelle Jussim

Formless: A User’s Guide, Yve-Alain Bois and Rosalind E. Krauss

Anti-Oedipus: Captialism and Schizophrenia, Gilles Deleuze

Discipline and Punishment: The Birth of the Prison, Michel Foucault

The Art of the Personal Essay: An Anthology from the Classical Era to the Present, Phillip Lopate

Power/Knowledge: Selected Interviews and Other Writings 1972-77,  Michel Foucault

Madness and Civilization: A History of Insanity in the Age of Reason, Michel Foucault

Hegel’s Phenomenology of Spirit: A Commentary Based on the Preface and Introduction by Werner Marx

Subculture: The Meaning of Style, Richard Dick Hebdige

The Wisdom of Insecurity: A Message for an Age of Anxiety, Alan A. Watts

Dialectic of Enlightenment: Philosophical Fragments, Theodor W. Adorno

The Society of the Spectacle, Guy Debord

Illuminations: Essays and Reflections, Walter Benjamin

Mythologies, Roland Barthes

Camera Lucida: Reflections on Photography, Roland Barthes

The Death of the Author, Roland Barthes

Social Psychology, Saul Kassin

C.G. Jun and Hermann Hesse: A Book of Two Friendships, Miguel Serrano

Photography: A Cultural History, Mary Warner Marien

Art and Culture: Critical Essays, Clement Greenberg

The Work of Art in the Age of Its Technological Reproducibility, & Other Writings on Media, Walter Benjamin

Ways of Seeing, John Berger

The Book of Questions, Pablo Neruda

A Field Guide to Getting Lost, Rebecca Solnit

A Guide for the Perplexed, Ernst F. Schumacher



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