Art Insights: AMALIE JACOKBESEN

 
 
 

Amalie Jakobsen works with form, colour and space. With shards of metal and bands of coloured material she measures the spaces we inhabit and move around in to investigate how we relate to our body’s physicality and our surroundings.

 

In combining delicate and fragile materials - fabric and latex - with a minimalist visual language using hard, industrial materials - steel, magnets, and aluminium - Jakobsen pushes a minimalist tradition deriving from artists such as Richard Serra, Robert Morris and Frank Stella to new dimensions. 

 
 
 

Her works explore the interrelation between form, space and time, and expand the sculptural medium with her exact geometrical shapes in bright, and often, primary colours that infect and occupy the exhibition space. One is forced to move in a specific way, which is determined by the shapes of the works that measure and map the dimensions of the space. The works create by their form and extent a body, which defines a spatiality.

 

All superfluous elements are left out in the works of Jakobsen inverting the focus from the works and on to the surroundings, enhancing the connection between the accurate geometrical shapes and the space they are so meticulously placed within.

 
 
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The works challenge the viewer’s understanding of space. An immediate, bodily experience leaves its trace in the memory of the viewer who cannot renounce becoming an active participator when space and work become one inseparable entity.

 

Amalie Jakobsen was born in 1989 in Denmark. She lives and works in Mexico and Berlin. She graduated from Goldsmiths University of London in 2014. Her works have, in addition to Gether Contemporary, been exhibited at Efrain Lopez Gallery in Chicago, US, TwilSharp Gallery in Johannesburg (ZA); Breve Gallery, Mexico City, (MX) Bosse and Baum in London, UK. Amalie Jakobsen is featured in the 2015 publication Nordic Contemporary, published by Thames & Hudson Ltd. Amalie Jakobsen has since 2014 been represented by Gether Contemporary.

 
 
 
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