In 1980 Sophie Calle followed a man she did not know around the streets of Venice and made the infamous work Suite Vénitienne. In an update of sorts Following Amie shares the curiosity and desire to understand through “following,” yet shares none of the subterfuge or secrecy of Calle’s project. On the contrary, it is a highly collaborative work conceived between the ‘follower’ and the ‘followed’. Following Amie tests the idea of embodied knowledge where Miranda literally follows Anderson with an iPhone 6 on a Selfie Stick over the course of several days, as ‘Amie’ goes about her life, working as an artist, ARI director, and two different part-time jobs. In the process of literally “following Amie” new questions opened up about artists and work, different questions from those posed by Sophie Calle in a previous era. Today, the very nature of the artist’s work exists within a precarious ‘gig’ economy, and social and relational modes of work jostle against more traditional forms usually associated with studio practice. Following Amie plays at the precarious edge between work as practice and work as economic survival – following the work the artists do to make the work, and the work the artists do making the work.This project was funded partially by the Australian Government through the Australian Research Council.The project received funding assistance from The University of Melbourne, VCA.