LM WOMAN / AMALIA KEEFER



LM WOMAN / AMALIA KEEFER

 

This Mother’s Day we have collaborated with our dear friend and artist Amalia Keefer. Her vibrant, kaleidoscopic scapes feature on three limited-edition cards and an exclusive silk organza tote bag, available in store and online this Mother’s Day. Inspired by the ever-changing nature of human feelings, Amalia's creative process is driven by intuition, responding to what she sees and feels in the present moment. Instead of meticulously planning every stroke, she allows her emotions to guide her brush, resulting in paintings that resonate uniquely with each observer.


In this conversation we explore how her creative process has evolved since relocating to Copenhagen, the ways in which she experiments with colour and form, and what drives her unique visual language.



Your creative practice is intuitively guided by what you see and how you feel in a moment rather than from a place of aesthetic premeditation. In what ways, if any, has your practice evolved since relocating to Copenhagen?

 

In a logistical sense, moving to Copenhagen has meant I’ve had to adapt my practice completely. At home in Australia, I was predominantly making large-scale oil paintings, with materials that took years of investment to build up, so I am essentially starting fresh here. Not being in the position to set up a studio right away, I have been excited to expand my practice and take this as a time to work with different mediums to translate my ideas. It has been a time for research and development; the access to great art in Copenhagen is inspiring – I can ride my bike or take the metro in under 15 minutes to multiple galleries across the city and can easily spend a whole day gallery hopping if I desire! The move has also encouraged a lot of personal growth and has given me perspective on how important creative expression is to me, allowing for a deeper connection to and respect for my practice.



Colour has been a central part of the human experience throughout history, weaving its way into everything from artistic expression to scientific inquiry. Many renowned practitioners of varied industries, creative and otherwise, have observed and technically explored the dynamic interplay between colour and form, and the bearing they have on our emotional responses to people and environments. What avenues do you take to explore your own unique relationship to colour and form?

 

The consideration of colour and form in my work is really what drives it. If not for colour and form, and the fluidity of that relationship, my work wouldn't really exist. My works are not premeditated, but each movement is highly considered, where before each stroke I question how a choice of colour, texture, and shape will relate to what is already on the surface. Not knowing the answer as I paint, I am letting go and awaiting a response. It's the discovered relationship between the colours and forms in each work that excites me the most – operating in the space between suspecting but not knowing.



In your journey, you've shared how your grasp of colour evolved not through traditional art schooling but rather immersing yourself in the world of textile design at RMIT, as well as your time here at Lee Mathews. Can you elaborate on how these experiences shaped your perception of art making and creative expression? Would you encourage fellow emerging artists to explore avenues beyond the confines of a single creative discipline?

 

I have always been extremely visual and excited by art and design, valuing beautiful objects and collecting inspiring imagery for as long as I can remember. At Lee – often being surrounded by, interacting with, and engaging in an intimate way with these same qualities – I felt the space needed, in a personal sense, to experience inspiration from your environment was always buoyed by a kindred appreciation and respect for beautiful and unique design.

It seems to be less socially deafening these days, but there's definitely a broader conditioned belief that art school or any sort of conservatoire education holds all the answers. Maybe, technically speaking, that's true in some cases, but if every artist who never had classical training stopped making work, the universal landscape would be a lot less interesting. There is no blueprint for success anymore; when it comes to artistic practice especially, everything is subjective and, at the end of the day, success should only be determined by the individual. Frustratingly, artists and creative people are the last to take that notion to heart, but I’m trying harder these days to remind myself of this, and being present in encouraging others in my life to do the same.


Amalia wears the Amalia Dress. Coming soon.


Tell us about your studio space. What elements are essential for inspiring your creativity?

 

I would love to have a studio space here (hopefully in the near future), but at the moment any work I'm making is at our dining table. The table is situated right next to a big window, and looks out onto the courtyard of our apartment building, so this is perfect for creative flow, as natural light is key for me.



How did you approach painting the artworks for our collaboration? Can you share with us your creative process?

 

I started out by reflecting on LM collections, past and present, drawing inspiration from the colours, textures, and how their beauty made me feel. I looked to past works of my own and revisited favourite elements from particular paintings, but really I just allowed myself to be free in the process, letting go and exploring what I felt in the moment.


Amalia wears the Amalia Dress. Coming soon.


Beyond art, how and where do you like to spend your time?

 

I love taking myself out, strolling around the city on my own. The quiet moments to myself help me appreciate the simple things and to notice the beauty that is around me and in the mundane. The city has some amazing parks and public spaces – Frederiksberg Have is a short walk from home. I could spend a lot of time there, just people- and bird-watching. I am looking forward to the warmer weather, for picnics in the park with friends! My boyfriend works in music, curating the music profiles for a couple of venues here amongst other things, so to balance these quiet moments there's always somewhere to go for a good dance!


Amalia wears the Amalia Dress. Coming soon.


What galleries, cafes, or stores would you recommend visiting in Copenhagen?

 

My favourite galleries are SMK, Kunsthal Charlottenborg, Glyptotek and Louisina.
Some favourite lunch spots are Et Cetera, Beit Salma, Aurens Deli and Dzidra (special mention to their matcha mille crepe cake!). For dinner, I love Italo Thai, Baka d’ Busk, Cafe Dyrehaven, Ranee’s, and then Bird for a post-dinner cocktail. I have had lots of great finds in Op-shops, markets and Antique stores, it is really worth walking into any you pass!



Amalia Keefer @amalia.keefer
Photography Ash Pederick


LM WOMAN / AMALIA KEEFER

 

This Mother’s Day we have collaborated with our dear friend and artist Amalia Keefer. Her vibrant, kaleidoscopic scapes feature on three limited-edition cards and an exclusive silk organza tote bag, available in store and online this Mother’s Day. Inspired by the ever-changing nature of human feelings, Amalia's creative process is driven by intuition, responding to what she sees and feels in the present moment. Instead of meticulously planning every stroke, she allows her emotions to guide her brush, resulting in paintings that resonate uniquely with each observer.


In this conversation we explore how her creative process has evolved since relocating to Copenhagen, the ways in which she experiments with colour and form, and what drives her unique visual language.



YOUR CREATIVE PRACTICE IS INTUITIVELY GUIDED BY WHAT YOU SEE AND HOW YOU FEEL IN A MOMENT RATHER THAN FROM A PLACE OF AESTHETIC PREMEDITATION. IN WHAT WAYS, IF ANY, HAS YOUR PRACTICE EVOLVED SINCE RELOCATING TO COPENHAGEN?

 

In a logistical sense, moving to Copenhagen has meant I’ve had to adapt my practice completely. At home in Australia, I was predominantly making large-scale oil paintings, with materials that took years of investment to build up, so I am essentially starting fresh here. Not being in the position to set up a studio right away, I have been excited to expand my practice and take this as a time to work with different mediums to translate my ideas. It has been a time for research and development; the access to great art in Copenhagen is inspiring – I can ride my bike or take the metro in under 15 minutes to multiple galleries across the city and can easily spend a whole day gallery hopping if I desire! The move has also encouraged a lot of personal growth and has given me perspective on how important creative expression is to me, allowing for a deeper connection to and respect for my practice.



COLOUR HAS BEEN A CENTRAL PART OF THE HUMAN EXPERIENCE THROUGHOUT HISTORY, WEAVING ITS WAY INTO EVERYTHING FROM ARTISTIC EXPRESSION TO SCIENTIFIC INQUIRY. MANY RENOWNED PRACTITIONERS OF VARIED INDUSTRIES, CREATIVE AND OTHERWISE, HAVE OBSERVED AND TECHNICALLY EXPLORED THE DYNAMIC INTERPLAY BETWEEN COLOUR AND FORM, AND THE BEARING THEY HAVE ON OUR EMOTIONAL RESPONSES TO PEOPLE AND ENVIRONMENTS. WHAT AVENUES DO YOU TAKE TO EXPLORE YOUR OWN UNIQUE RELATIONSHIP TO COLOUR AND FORM?

 

The consideration of colour and form in my work is really what drives it. If not for colour and form, and the fluidity of that relationship, my work wouldn't really exist. My works are not premeditated, but each movement is highly considered, where before each stroke I question how a choice of colour, texture, and shape will relate to what is already on the surface. Not knowing the answer as I paint, I am letting go and awaiting a response. It's the discovered relationship between the colours and forms in each work that excites me the most – operating in the space between suspecting but not knowing.


IN YOUR JOURNEY, YOU'VE SHARED HOW YOUR GRASP OF COLOUR EVOLVED NOT THROUGH TRADITIONAL ART SCHOOLING BUT RATHER IMMERSING YOURSELF IN THE WORLD OF TEXTILE DESIGN AT RMIT, AS WELL AS YOUR TIME HERE AT LEE MATHEWS. CAN YOU ELABORATE ON HOW THESE EXPERIENCES SHAPED YOUR PERCEPTION OF ART MAKING AND CREATIVE EXPRESSION? WOULD YOU ENCOURAGE FELLOW EMERGING ARTISTS TO EXPLORE AVENUES BEYOND THE CONFINES OF A SINGLE CREATIVE DISCIPLINE?

 

I have always been extremely visual and excited by art and design, valuing beautiful objects and collecting inspiring imagery for as long as I can remember. At Lee – often being surrounded by, interacting with, and engaging in an intimate way with these same qualities – I felt the space needed, in a personal sense, to experience inspiration from your environment was always buoyed by a kindred appreciation and respect for beautiful and unique design.

It seems to be less socially deafening these days, but there's definitely a broader conditioned belief that art school or any sort of conservatoire education holds all the answers. Maybe, technically speaking, that's true in some cases, but if every artist who never had classical training stopped making work, the universal landscape would be a lot less interesting. There is no blueprint for success anymore; when it comes to artistic practice especially, everything is subjective and, at the end of the day, success should only be determined by the individual. Frustratingly, artists and creative people are the last to take that notion to heart, but I’m trying harder these days to remind myself of this, and being present in encouraging others in my life to do the same.


Amalia wears the Amalia Dress. Coming soon.


TELL US ABOUT YOUR STUDIO SPACE. WHAT ELEMENTS ARE ESSENTIAL FOR INSPIRING YOUR CREATIVITY?

 

I would love to have a studio space here (hopefully in the near future), but at the moment any work I'm making is at our dining table. The table is situated right next to a big window, and looks out onto the courtyard of our apartment building, so this is perfect for creative flow, as natural light is key for me.



HOW DID YOU APPROACH PAINTING THE ARTWORKS FOR OUR COLLABORATION? CAN YOU SHARE WITH US YOUR CREATIVE PROCESS?

 

I started out by reflecting on LM collections, past and present, drawing inspiration from the colours, textures, and how their beauty made me feel. I looked to past works of my own and revisited favourite elements from particular paintings, but really I just allowed myself to be free in the process, letting go and exploring what I felt in the moment.


Amalia wears the Amalia Dress. Coming soon.


BEYOND ART, HOW AND WHERE DO YOU LIKE TO SPEND YOUR TIME?

 

I love taking myself out, strolling around the city on my own. The quiet moments to myself help me appreciate the simple things and to notice the beauty that is around me and in the mundane. The city has some amazing parks and public spaces – Frederiksberg Have is a short walk from home. I could spend a lot of time there, just people- and bird-watching. I am looking forward to the warmer weather, for picnics in the park with friends! My boyfriend works in music, curating the music profiles for a couple of venues here amongst other things, so to balance these quiet moments there's always somewhere to go for a good dance.



WHAT GALLERIES, CAFES, OR STORES WOULD YOU RECOMMEND VISITING IN COPENHAGEN?

 

My favourite galleries are SMK, Kunsthal Charlottenborg, Glyptotek and Louisina.
Some favourite lunch spots are Et Cetera, Beit Salma, Aurens Deli and Dzidra (special mention to their matcha mille crepe cake!). For dinner, I love Italo Thai, Baka d’ Busk, Cafe Dyrehaven, Ranee’s, and then Bird for a post-dinner cocktail. I have had lots of great finds in Op-shops, markets and Antique stores, it is really worth walking into any you pass.



Amalia Keefer @amalia.keefer
Photography Ash Pederick