"Few Canadian Abstract painters exhibit their work globally with as much success as Adamson and he has a career that enables him to be very much a beloved Canadian 'fixture' and have international appeal. He is a journeyman, voyageur and navigator in an intellectual and aesthetic journey. One feels both a comfort in his work, in that you want to live with it, love it like a friend, but also challenge it to take you deeper into its darker waters and sometimes perplexing currents. In Adamson's words, 'the modern landscape is an invitation to look at everything.'"
Excerpt Stephen Ranger
"I want to make beautiful things" - the paintings were not so much self indulgent as they were ecstatically pursued, encyclopedic essays in the expressive possibilities of the language of paint.
And these possibilities-as wrangled into the paintings by an artists for whom Bonnard, Manet, Monet, Nicholas de Stael and Hans Hofmann ar e just as relevant and just as useful in the daily practice of painting as is the inevitable Gerhard Richter-were now being tumbled into the gaping hopper of the new works with a gleeful abandon that either furrows your brow or lifts your heart.
But "gleeful abandon" is not right. Or at least "abandon" isn't. In overview, the paintings teem with pigment joy. You end up marveling at the cunning way Adamson's trowellings and eddyings of paint coalesce, in a painting like Shepherd's Cove, for example, into inescapable suggestions of landscape. In the end, however, you can have your landscape associations and deny them too. For the paintings almost inevitably break up into thousands of heady passages of pure paint-handling where, if you take them moment by moment, you free your self, dab by dab, swipe by swipe, into an engagement with febrile, unapologetic aggregation of painting acts. The result is a deep healing calm. As William Blake once remarked about mastery, whereas "Damn braces", so "Bless Relaxes"
Gary Michael Dault, Canadian Art, Spring 2004