Adam A

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overview

In her melting pot vision—Adam A—with her painting, represents fears, illusions, utopias, and veterans, from a confused world; one where social meaning and technological progress transform life.

The meaning embodied by every sign, symbol, and trace of colour, contains information, expectations, simulations. It is well known that communication is the body of knowledge; it is the union of the understandings, pulsations, desires, behaviours, and the disciplinary devices that control the social body with a mechanism of sublime power.

The work of Adam A is based mainly on philosophical concepts of Cartesian memory, between paradigms and metaphorical truth, on the dichotomy that exists between inclusion-exclusion in the collective conglomerate between the individual and the world, in the utopia of being able to contribute in her own way to communicative and social change.


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about the artist

Body and World in Adam A’s work
by Dores Sacquegna

Analyzing the recent work (2005—present) of Adam A, at first impact the attention catalyzes on the titles. Words like: substance, fecundity, life, heart, comparison, being, loyal contact, humanities, and world, are some of the many titles that raise questions and paradoxes, in reference to mankind, nature, and to the substance that moulds and gives structure the world, ecological matters (see The Ecologist, 2005), existentialism, (see Alla Ricerca di Te 2004) and to the absolute sense of the Universe (see Concetto terrestre, 2005).

I think of Galimberti and recall his “nomadic words” that narrate the human condition, behavioural ethics, life’s challenges, and difficulties in the relationship with others and with oneself. I think of Adam A and the abrasive, and yet at the same time delicate, way she taps into numerous different worldwide cultural themes, from this style emerges linguistic semantics completely free from the contemporary realistic representation, however hesitant to celebrate the crazy path of the world and its mechanisms.

With a graphical and pictorial mark that recalls the abstractionism of the internationally historic avant garde, Adam A adds a new visual simulacra: the verb, a seductive language that involves human perspectives, putting in crisis the pre-established structures of communication. What is important, in my opinion, is the dialectic between significance and meaning, between sender and receiver of the message, between real and imaginary, truth and virtual. Indeed, today man lives in a society dominated by a new existential dimension: the virtual. Our idea of truth is based on our sensory perceptions; but when we distance ourselves on a personal level to gain advantages on social or cosmological levels, the representation of reality becomes abstract, distant, virtual.

From platonic idealism to social realism, science has made great leaps, in the field of literature, art, technique, in all those sciences that are interested in biomedicine, biophysics, bioethics, biopolitics, artificial intelligence, virtual atmospheres, etc. The globalization, in its extreme effects, has forced cultures to become deeply autistic, with a natural homology of body and thought, but also to a medio-psychological degeneration that touches not only language, but all those elements that have transformed the individual into a planetary subject and the world into a global village.

In her melting pot vision—Adam A—with her painting, represents fears, illusions, utopias, and veterans, from a confused world; one where social meaning and technological progress transform life.

The meaning embodied by every sign, symbol, and trace of colour, contains information, expectations, simulations. It is well known that communication is the body of knowledge; it is the union of the understandings, pulsations, desires, behaviours, and the disciplinary devices that control the social body with a mechanism of sublime power.

The works “Microgioco”, 2004, and “Il Gioco”, 2005, correspond to the interface between individual and machine, between Cyberculture and StorySpace. In “Il Cuore”, 2004, the artist represents the “sensory organ-machine” where the affects-effects, the relations, and the social and daily behaviours are articulated. The heart is the region of the psychical prana (the thin layers of the being, in the Hindu religion), it is the gear that unhinges the techniques of individualization of power, emotions, the will and love towards humankind.

Whereas in the artwork entitled “World” (2004) she uses the metaphor of the visual communication tied to the body-world concept in order to describe the transformation of our collective imaginary: a door, a maze, a pseudo geographical map as an access to the unknown. Body and place are the phenomenological characteristics that link us to daily life. Inside Adam A’s reflection, we find considerations that open up to an alarming perspective: “Giusta Prova” (2005) and “Fecondazione” (2005) manifest a future reaction of our anthropological and sociological destiny, characterized by ambiguous fusion between the way we live in “the act” and the way in which we will live in “power”.

In her artwork emerges a “cut and paste” type of memorableness, where the “substance”, the material and the form, predispose the reality and concept of unity, which inexorably tends to dissolve itself. When the verbal language becomes visual, it activates a “confrontation”, an outline that places on one side those that manage life antagonistically and with self-criticism, and on the other side, those that are perfectly conformed in relational devices dominated by power and homologation.

The work of Adam A is based mainly on philosophical concepts of Cartesian memory, between paradigms and metaphorical truth, on the dichotomy that exists between inclusion-exclusion in the collective conglomerate between the individual and the world, in the utopia of being able to contribute in her own way to communicative and social change.


exhibitions

  • 2009
  • NY Arts Magazine—Tips & Picks Featured Artist 2009
  • Artist in Artslant NY (online)
  • Art non Record Vol. 2—Group Exhibit APW Gallery New York.
  • 2008
  • National Competition Agazzi by Agazzi Ars
  • Artist in Art Time 2008 (online) Edition Artoteque London
  • Memories (Group Exhibit) Primo Piano Living Gallery Lecce, review by Dores Sacquegna (Curator)
  • 2007
  • Gallery Modigliani in Milan by maestro Romano Pelati
  • Gallery Poliedro in Trieste by maestro Giuliano Pecelli
  • Artist Porftolio’s Saatchi Gallery London (online)
  • 2006
  • Group Exhibition Centro Artistico Culturale Milanese in Milan by Didi Cutrufo
  • Gallery Gió Art in Lucca (Italy) by Giovambattista Bevacqua
  • Publication on Magazine Arte Mondadori—Art Site
  • Artist in The-artist.org (online)
  • Artist in Portfolioonline by CareOf&Viafarini in Milan
  • 2005
  • International Exhibition in Rome Gallery Il Collezionista by Roberto Giuliani
  • Exhibitions in Berlin Gallery Pinna;
  • Barcellona Gallery Esart;
  • Sanremo (Italy) Gallery Bombonniere;
  • Perugia (Italy) Centro D’Arte Minerva
  • International Exhibition in Lugano Studio Arte C’é
  • Publication on magazine Arte BOE’
  • 2004
  • Gallery Artecultura in Milan (The First Exhibition) and review on Magazine Artecultura directed by Teodosio Martucci
  • Group Exhibition in Legnano by Prof. Giorgio Rota Famiglia Legnanese Palace
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