Be true to your values, don't sweat the small stuff, Fill what's empty, and empty what's full.. (excluding pink drinks!)
Biography: Amina Bech Imagine an old wooden hen house, charmingly rustic, nestled under some maple trees, with the sounds of running water and a gentle cooling breeze.. Then imagine a father, a wife and a baby.. and the idea of building a home right there, based on the remains from the hen house.. I was born on the country - east in Norway. My family on my mothers side was laestadians (a fundamental religious sect primarily based in the nothern part of Norway), and my father being the result of several generations of corn farmers. I spent my childhood on my grandparents farm, and yes - in a converted hen house. This little cottage housed all my (after time) five-person family... Today I find this quite amusing. There was a big barn built on a tall wall made of granite, but no animals.. or - there might have been a cow there once.. and then rabbits - a lot of rabbits.. I'm educated at the Norwegian Academy of Stage Art (Scenography, bachelor degree). I also have background in fine arts, as well as photography.. I have been working with audio and image processing within various formats, both in a scenic context and in exhibition projects - digitally processed photography, audio and video.. I have been a part of performances like 'The Lorelei' (Dance performed on a stage in water) during the EXPO 2000 i Hannover, and the Rhine / St. Goarhausen, Germany, as a co-producer, and have supplied video scenography for 'La Voix Humaine' for theater and Opera.. Have also worked with video scenography for consert performances like 'Framed', 'Time Report', and 'The Hot Big Bang Model', and have been working with sampling, loops and ambient audio for 'Always Lulu' and 'CveveCompagniet'. In 2001 I was going to work as a scenographer on Handkes 'The Time we knew nothing about one another' in Kanonhallen, Copenhagen (Director Nullo Facchini), then I had to take a year break, 'batteling' cancer.. SHIT! .. After that, my work have been focused towards photography, and since 1996, I'm gone totally digital - I live in the digital darkroom.. One thing I really enjoy - is the elvolving process of work, which can start up with a vague idea, and then (hopefully) develope that into a universe all of it's own. Nothing can be more frustrating and giving at the same time as that. What excites me the most is when an unexpected emotional trigger connects with a visual memory.. Best Regards Amina Bech
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