An art installation consisting of a wood board with a hole to a view of a geometric panel

no.1 (detail), Amarie Bergman: found painted board 78 x 40 x .5cm; laredo 001 Melbourne 2019

What a surprise! Dallas Jeffs, editor at Artist Run Website, has just published a micro-review about my latest work.



Dallas has not only highlighted and promoted my work but also a myriad of genres presented by other ARW artists. I confess that I really admire her writing style because of its adept distillation of the macro along with superb editing; and she always includes a well-curated choice of images. Dallas has written two of these concentrated reviews before on my practice. (see below) 




An artwork consisting of three pink felted spheres on a wallViolet Pink Eternity, Amarie Bergman: Nepalese hand-felted wool, acrylic paint; three spheres, each 2.5cm; Aqua Vovo, Factory 49 Pop Up, Paris 2016




An artwork featuring circles of pastel on a white canvas

Maquillage #2, Amarie Bergman: pastel on canvas; 25 x 25cm 2014



Interior view of studio, 2020 image by Amarie Bergman


A change is as good as a rest, so they say. Actually, better! Although my new studio in Bunbury - aka Bunta del Oeste / Sunset Beach on the coast in Western Australia - is just 8 square metres, about the same size as the recent one in Melbourne, it’s different: very quiet - capital Q! - and features a ceramic tile floor and plenty of natural light. Work for projects is again underway: either being contemplated in the classic ideating mode or spontaneously appearing out-of-the-blue.


13 May 2012 self-portrait, outside ParisCONCRET looking in at The Rosy Crucifixion exhibition

Quelle surprise: I'm now on Instagram! It seemed like an aeon of deciding whether to add another 'So-Me' account into the mix but so far there's a feeling of instant rapport and excitement. First 2 images are from Neo Violet at Five Walls Projects / Melbourne ~ one of my favourite solo exhibitions.



(left - found board, partial view) no.1, (above, in cabinet - found paper rolls, partial view) no.3 and (right - found balsa hoop) no.2; laredo 001, Melbourne 2019


For laredo’s very first project I presented my work for a dazzling 24 hours (!) on 3-4 October 2019.




video: (a virtual vernissage/finissage)





laredo is a reality!






A transitory space-time, laredo presents materiality through the simplicity of reductive art. The form it takes can be site-specific, ephemeral, conceptual, text or performance-based via individual and collaborative projects. laredo aspires to add a few glimmers to art’s visual language.

laredo is led by Amarie Bergman (Director of Logistics for laredo / DOLL) and Paul MacGillivary (Chief of Operations for laredo / COOL).

For details about the current site, click on the floorplan and specifications; to subscribe to our e-invitation list, propose a future project or get more info contact us via: 




1936, Alexander Calder; wire, wood, rod, lead, paint; collection of the Calder Foundation, New York (AB image)

“The tightrope in this work is stretched between two irregular wooden forms set on metal tripod bases and provides the crossing for a procession of four objects made out of thin, white-painted wire: a spiral (or helix); a sphere consisting of two intersecting circles; three circles stacked on top of each other; and a U-shape (or parabola). Each element balances and pivots by virtue of tiny lead weights. The biomorphic and geometric shapes evoke a circus act, walking a tightrope between reality and abstraction, as well as stillness and movement – all were integral to Calder’s inventive process.” (exhibition placard)

Alexander Calder: Radical Inventor National Gallery of Victoria 5 April – 4 August 2019



Alexander Calder with Snow Flurry I 1950; sheet metal, wire and paint; collection of MoMA, New York; image published by Independent (UK), 15 November 2015, courtesy of Dominique Lévy, NY

Imagine the calming sight of white discs rotating, seemingly at random, yet all held by an (almost) invisible attraction in the spaciousness of space. Sounds like a minimalist version of the beginning of a snowstorm, doesn’t it? Although this may be the origin, the technicalities of Snow Flurry, a mid-20th century series of mobiles made with sheet metal, wire and paint, are most assuredly something that only Alexander Calder could have combined and constructed.


Scientific developments occurring around that time - not limited to: The Big Bang Theory, LP (long playing) Records, Field-Sequential Colour System, Tornado Forecasting and Jan Oort’s Postulation of The Existence of An Orbiting Cloud of Planets at The Outermost Edge of The Solar System – may have influenced Calder. Or maybe not.

What I do know is two in the series which I have experienced* are unforgettable. They both became part of a single neuron, connected to personal memories of snowflakes / ideas / companions gathered together in one fleeting flurry.


Alexander Calder: Radical Inventor National Gallery of Victoria 5 April – 4 August 2019

*Snow Flurry III 1948, at NGV’s recent survey exhibition in Melbourne, and, my favourite, Snow Flurry I 1950 at a MoMA/NY travelling show a few years ago in Perth



I’ve always felt a sense of wonder can happen as a chance appearance, but when it is courted then the surprises of synchronicity and lightness of being are second to none. Wonderful memories last because they can be adored, like integral yet perpetually transformative constants, in a special jewel box of the mind.

Bobette Buster, at a recent seminar,* relayed proof that wonder can intentionally be transmitted in any field of creativity, on any occasion, causing a shift of higher consciousness. ‘This is wonder’s use,’ she emphasised. Although Bobette gave many examples in her own field of film making, her summary – believe me, storytelling at its finest – brought both tears as well as radiating after-effects of what it means to ‘carry the fire.’ Here’s a very short version:

During the two years spent in the Secret Annex’s stillness, Anne Frank treasured several iconic photos of glamour, hope and beauty. Among her favourites of these companions-on-paper, inspiring Anne to continue writing, was Sonja Henie, champion figure-skater and film starlet.

Sonja Henie in My Lucky Star, 20th Century Fox film, 1938


The photographers themselves, through their invisible presences, also became part of Anne’s world: conveying via artistry that transubstantiation becomes experientially realised through visual templates. The baton of courage is passed to you.
And with it, may I add, the wand of wonder.

*What’s the Story? The Uses of Wonder: Ask the Right Questions of Your Story 8 August 2019, State Library, Melbourne. It was one of 5 sessions Bobette gave as a guest of the Melbourne International Film Festival. LA-based, she is a story consultant, professor, producer, author, lecturer and screenwriter working with Disney, Pixar and Twentieth Century Fox.