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Painting (MA)

Amalie Gabel

Amalie Gabel (b. 1992)

Working between the fields of painting, installations and poetry her work has been shown at Kunsthal Charlottenborg (Copenhagen), Frise Künstlerhaus (Hamburg) a.o. Her paintings can also be seen in the collection of Malmö Art Museum and Stockholms Läns Landsting. After the RCA she will be doing a residency at The Danish Institute in Rome. 

See CV

Then practice losing farther, losing faster:

places, and names, and where it was you meant

to travel. None of these will bring disaster.

One Art, Elizabeth Bishop, The Complete Poems 1926-1976


In the escalation of Bishop’s poem, it is not just the potential roads in front of us that seem to disappear, but also what is supposedly behind us, the mountains of our pasts. Names and places that used to matter.


When all these possible futures that we feel entitled to experience slowly crumple, we need the casual resilience shown in the poem. We see this resilience through the poem’s pretended lightness in dealing with minor as well as major losses. The tactile feel of a sweater, the smell it carried or the memory of a loved one wearing it, it all blurs together.


I lost my mother’s watch. And look! my last, or

next-to-last, of three loved houses went.

The art of losing isn’t hard to master.

One Art, Elizabeth Bishop, The Complete Poems 1926-1976



Accepting loss is also slowly accepting the loss of hope for other futures. When you lose something, you don’t just lose the thing itself, but also all the tentacles attached to it; all the futures you imagined yourself to have with it.

We lost a world, and with it, we lost all the futures we saw in it. We have to get used to a new way of life; half the time forgetting that we are not supposed to touch people, things, and the other half forgetting, temporarily, that it has ever been different; finding films, or books to be unrealistic when they are not aware of the isolation restrictions.


Not being around people is only half an existence. It is waiting for that thing to happen. The bell to ring, letting us all out of class.


—Even losing you (the joking voice, a gesture

I love) I shan’t have lied. It’s evident

the art of losing’s not too hard to master

though it may look like (Write it!) like disaster”

One Art, Elizabeth Bishop, The Complete Poems 1926-1976

When The Hausherr Finds His Armchair — Wood, textile, acrylics and oil, 180 x 660 cm, 2021
When The Hausherr Finds His Armchair — Wood, textile, acrylics and oil, 180 x 660 cm, 2021
When The Hausherr Finds His Armchair — Wood, textile, acrylics and oil, 180 x 660 cm, 2021
Exhibition Text — The Danish Embassy in UK
Excuse you (repeated) — Oil, acrylics on wood 80 x 61 cm, 2020
From My Tongue to God's Ear — detail
From My Tongue to God's Ear — Textile, oil, and wood 99 x 75 cm, 2020
Monolingual Marriage — Textile, oil, and wood 180 x 190 cm, 2020
Cavity Castle — Textile, wood, pastel and oil 105 x 125 cm, 2020
Urd´s Dirty Laundry (or doing Chores for the Nornes) — Textile, oil and wood 103 x 174 cm, 2020
Unanswered and Unimpressed — Textile, oil, marker and wood 106 x 97 cm, 2020


Reflections — Oil on textile, 45 x 45 cm, 2021
Waiting for Viridian — Oil on textile, 45 x 45 cm, 2021
Quote
Carriers of Faces — Oil on textile, 45 x 45 cm, 2021
Room of Beauty — Oil on textile, 45 x 45 cm, 2021
Catoptromancy — Oil on textile, 45 x 45 cm, 2021
Prosit (May it do you well) — Oil on textile, 45 x 45 cm, 2021
Keeping the Devil in a Bottle — Oil on textile, 45 x 45 cm, 2021

Medium:

Textile and oil paint

Knud Høgjaards Fond

Grosserer L. F. Foghts Fond

William Demant Fonden

Den Hielmstierne-Rosencroneske Stiftelse

Beckett Fonden

Augustinus Fonden

Dansk Tennis Fond

Direktør Ib Henriksen Fond