Link to Cv below:
Amber Lelli’s artist process is one of exploration and thoughtful consideration. Like a scientist in a lab, Amber is an artist in her studio creating visual experiments to research her various conceptual interest and create work that asks questions from itself and the audience. She specializes in the marriage of various materials and their languages, and holds quality craftsmanship to high esteem. While being diverse in a range of material, Amber’s work embodies an aesthetic that is smart, bold, spatially conscious, intricate, and at times, colorful. In the same way that Amber spends time in the studio creating these artworks, they then go on to demand time from their audience, creating an atmosphere of intimacy, quiet, playfulness and contemplation.
Interdisciplinary artist Amber Lelli is interested in exploring concepts, asking questions, and choosing the medium and materials best fit for those ideas. Looking through her portfolio you will witness everything from bronze surreal portraiture to innovative marquetry and colorful prints. Amber holds a BFA from Middle Tennessee State University in Studio Art and has shown her work throughout the nation, winning various awards and scholarships along the way. She also has a background as a commercial artist creating public works and themed environments for businesses, movie productions, music festivals, and The National Bible Museum in Washington, D.C. As an artist, sometimes educator, and entrepreneur, Amber has a desire to push, examine, and understand the potential of art beyond typical conventions and contribute to society in a way that leads to tangible help, innovative policy, and creative solutions to some of the problems facing our local and national communities.
Artist and Project Statement For: Premise Sculpture Series 1-10 | Vestige | Thought Flow A and B | Girls | 228 Girls | Mirrored Connections | Betwixt and Between | Heterostasis Suit A-C
Growing into an adult and living on my own I naturally began examining my identity and history as an individual. This led to the creation of autobiographical and narrative work which followed the logic and language of a laboratory experiment. In the creation of this work, I used visual characteristics such as grouping, voids, color, and material choice as my experimental factors. Grouping spoke about interpersonal relationships between individuals. Missing faces became the presence of the void. Rather than being moments of emptiness, they represented an active space; full of conceptual and emotional possibility. The characteristic of color spoke to aesthetic decisions as well a spiritual nature that furthered the existentialism of the void in some pieces. Materiality is dictated by choosing the medium and material that has the most appropriate language to communicate the intended thoughts or emotions to my audience. It is because of this, and because of my love for learning, that I am always eager to explore new processes and materials in order to assimilate new visual languages to my vocabulary. I see the process of making much like running a lab, while the finished work is the report. Unlike a scientist who works for resolutions these all end in a premise. Always asking questions, but seldomly answering them.
My artist practice has since shifted focus as I’ve re-examined my ideas, gathered new perspectives and experiences, and sought out community and ways to serve though the attending and teaching of workshops and employment as an artist for Jonathan Martin Creative Inc. While I began with an inward focus examining my identity I continue with an outward focus examining external and societal information and my place within it.
Research Topics in beginning stages of exploration:
Taste in our current culture, where the consensuses of good and bad come from in a supposed subjective field, and how that influences my decisions.
The place of art in the media, every day, and public sphere and how that correlates with the artist as a public figure.
Wresting with and researching the migratory nature of our world today that often makes migration a requirement to obtaining meaningful or required monetary work and how that reality guides our place, education, relationships, and life. Where home isn’t necessarily dictated by personal wants or desires but more so the sacrifices we make to be able to make work as artist, educators, humans, etc.
Push, examine, and understand the potential of art beyond a commercial space, home, screen, or museum.
How I can have my seat at the round table be one of an artist who contributes to society and social situations in a way that leads to tangible help, innovative policy, and creative solutions to some of the largest problems facing our world today.