Studio Visit: Arnfinnur Amazeen

Amazeen describes his work as a kind of distortion of found materials.
He plays with the juxtaposition of photos, graphics and texts in individual
objects or images, and sometimes in elaborate installations. He gathers the raw
materials from quite different sources, distorting their original meaning in
the work process. Yet his end result is far from chaotic – on the contrary. The
precision and minimal approach with which Amazeen selects and reassembles his
subject matters is characteristic of his method. His constrained choices often
give the work the appearance of being loaded with preferred meaning and even
propaganda. Still, playfulness and humour are never far away.

The use of deadpan text suggests conceptual roots, but with a hint of
irony. The artist comes up with short and striking phrases and visualizes them
with sharp visual language borrowed from branding and corporate design. In the
economic upswing, shortly before the meltdown, Amazeen introduced
the Viking-Playboy Bunny that turned up in several of his
installations. The somewhat fascistic icon referred to the double-edged nature
of the Viking capitalism and its credit-driven financial boom and subsequent
bust. Amazeen does not exclusively point fingers, far from it. He continuously
questions his own role and responsibility as an artist, as in the print from
2008 where in a colourful and cheerful manner he writes, “Every society gets
the artists it deserves.”

Amazeen’s
latest exhibition, Self, was recently up in Værelse 101 in
Copenhagen. In the compact storefront gallery he exhibited a wall painting on
the far end and two other works on either side. As always the artist kept it
clean and simple, with text, colour and graphic imagery. He addressed the
relationship between artist and viewer, for example in the work that read “You
See Yourself Seeing Yourself…” where a sentence doubles back on itself in an
endless loop. Amazeen draws on the classic notion of all understanding and
interpretation ultimately deriving from within our identities, as we mirror
ourselves in the environment, in other people and in works of art. To propose a
simple/complex question, perhaps this is the fence that we constantly try to
cross over?