MICHAEL ADAMSON

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Private Collection, USA

"Beauty is worth pursuing."

Toronto 2017

"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

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Studio Calls
Michael Adamson
Michael Adamson Studio
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London Calling
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Thompson's Galleries
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Open Road 2016–2018
Michael Adamson
Open Road
2nd Volume in the Series
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