Amie Dicke's One-Liner @ Anat Ebgi In Los Angeles

“Some images ask to be folded or covered, others suggest a line. They have their language. And I try to understand how they speak to me.” – Amie Dicke.

The exhibition’s title refers to a striking new technique whereby Dicke uses a continuous, meandering incision to slice into aluminum plates bearing composed fashion portraiture. As she follows her line around the immaculate bodies in works such as ONE-LINER III (Holding the Rodeo Image) and ONE-LINER IV (Listen), the artist maps the touch of her hand and eye around the images, then bends new shapes into the metal. “Nothing is really removed, nothing is lost, just opened,” she notes. By adding space where there was none, and creating work that elides the conventions of two- and three-dimensional forms, Dicke continuously distorts and realigns the possibilities of our visual experience. “They are almost a movie in one still,” she says of these intriguing assemblages.

One-Liner is on view through February 16, 2020 @ Anat Ebgi AE2 Gallery at 2680 S La Cienega Blvd, LA. photographs courtesy of Anat Ebgi

AMIE DICKE: Infinitely Suffering Thing

Dissolving floors of memory, 2007

Artist Amie Dicke, from Rotterdam, transforms magazine pictures into intriguing works of art and so much more. On view now at the Venice Bienalle see close to 27 gallons of foundation get dumped and sprayed over an environ specially constructed by the artist. 

Detail Destruction of Memory, Infinitely Suffering Thing, 2008

Violent Contradiction, 2008

Effacement, 2008

Infallible, Close-Up

"One hundred liters of foundation (make-up) is going to be sprayed automatically by spray-guns that hang above an interior I have set up in the middle of the industrial environment of the former AkzoNobel factory. This room mirrors my private memories. Most of the objects which I have (re-)used would normally be thrown away, but some stuff just tends to stay, because you keep carrying them with you either mentally or physically. In a way they have become physical reminders of our inability to let go of life. The many layers of foundation will cover up the original colors or patterns of the objects and eventually the whole room will be in one tone, concealed under a thick layer of foundation, like a strange make-up. The interior will be changed into a skin colored "flesh", like a radical makeover that will turn the dead objects into a self-portrait."

www.amiedicke.com