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Verērī (reverence), 2009 – 2023, film photography. Emergent light offers viewers a coruscation of the transcendental space within existence. Dramatic and playful formations invite quiet contemplation of subjective viewing and torsions with magnanimous notions of nature. These existentialist visions invite viewers to into multiple layers of looking. While appearing to be one thing, the continual act of looking reveals something else. Looking upon, looking into, and looking through, the images offer an opening for the viewers’ imagination. Through the performative apparatus of photography, an intense and emotional granularity of life evokes a sensation of reverence. The afferent beauty in Time and Light perform as polymorphic layers of perception. The frames examine notions of inner and outer landscapes. Cosmogenic questions reveal the negative and positive spaces where light and shadow form and reform each other, where domination or acquiescence occurs.


My personal calling to nature was to serve as a church, differing from religion because it is not a human believing itself can be saved or needs to save the world, but that nature is showing us all the time we have only to save ourselves to flow through the continuity of life. Our consciousness and responsibility to choice imparts a great weight, a force such as gravity, grounding ideal ambitions through the forces of human action. Examining these torsions as an observer, I attempt to remove the “I” while working with my camera. This unselfing through both intention and instinct making the results of the work surprising and difficult for me to comprehend. It is not that I want to be incomprehensible— the opposite. It is this reverence for life itself I feel so deeply in the core of my body that I wish to share through connecting with viewers in the photographic image. This imaginary realm is our birthright and freedom to come to choice. This makes our bodies depolicized and instead of agents or subjects for an invisible entity or imaginary power beyond ourselves, invites self-realisation through responsibility. My personal aim in this work is the amelioration of life by looking closely at beauty as a means to heal manipulations, lies, tragedies and suffering through understanding. The violence of ignorance brought bought about by thoughts lacking in understanding, I hope, can be transformed through the compassionate art of looking.


L’Œil de la Photographie featured a selection, March 2023. Contact: Virtual Reality videos by Aaron Alvic Schroeder





























a placide horizon feigns a twilight
promising entryway toward oblivion
enumerating plurality as everyone
a toy mountain within sight
precipatory shores impose upon
a horizon hidden behind spines
of mountains hawthorned by
meteorological phenomenon
a yolked encourvature
reaching to kiss the moss lake enclosure
spatters a light upon
a placide reservoir
with stillness emphatically elusive
metallic refraction evocative
respite pool of heavens
graces barrens of resplendence
magenta hues are foretold to be
silvery kisses of hope in a fog laden landscape
penetrated by a few golden slices
feeding forest paths underfoot
begging my bones a curvature to rest upon
a geologically stabilising curvature
kissed by long afternoons’ horizon
placated by the winds’ dappled whimsy
through a darkened underbrush a cloudscape
beckons my footsteps towards a solace
of promise
and barren mirroring
a longing nearly here
emptied vessel in wait
pinnacle in demand
the rivers go rushing toward
a meadow blossoming
and skies threatening
only an equalising, ever lapping horizon

-Mari Amman, March 2023, Paris, France


Original artworks by Mari Amman. VR model created by Aaron Alvic Schroeder. Music of Julian Bream.













































SKJELL, SHELL, SJEL (SOUL), 2015, photography. Understanding the meaning of soul has confounded philosophers and theologians for centuries. In Norwegian language, skjell means shell, and sjel means soul. The mark between shell and soul is the letter form K. In this way,




2015, Royal Palace, Oslo, Norway. Photographed in the autumn of 2015. Black and white film.



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