Marius Amdam's "the great train robbery" (120 cm by 120 cm)
The first thing you notice as you begin to move about the installation is texture: Amdam’s not afraid of it. The second painting clockwise from the entrance, “stor våt hund i øyekroken” (“big wet dog in the corner of my eye,” according to Google Translate), depicts a skeleton dripping with gold jewelry. At the bottom of the panel is a crusted wad of black paint so thick it sticks out from the canvas like a shelf. The next panel, “just like honey,” is three-dimensional in a more subtle way. The canvas is three-quarters filled with a pale, feminine face, her expression vacant and almost moronic, like a still frame of Clara Bow or an anime princess. She wears an impressive, powdery-white, Marie Antoinette updo. Inky tears spill from her enormous eyes. At her throat, a chain of loops and whirls draws the eye downward and to the left. There’s something irresistible about the necklace—you can’t stop looking at it. From a distance it looks like old bronze; up close, you can see that the chain is made up of three-dimensional hoops of black, purple, orange, and mud-colored paint, washed with a thin coat of white that shows brightly against the turbulent colors beneath it, giving an overall look of burnished metal.