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Adam Staley Groves

Figured

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Adam Staley Groves

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Figured by Adam Staley Groves

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$ 4,000

Overview

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2020

Oil on canvas

Unique Work

Dimensions: 152.4cm (H) x 121.9cm (W) / 60" (H) x 48" (W)

Note: Actual colours may vary due to photography & computer settings.

Artist Statement

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Composed in 2020, “Figured” was first partially drafted by graphite. The tension between drawing and painting informed the woodenness of the figure; a moulting of several personae, self-censoring yet observing; exploding into pink dust. When sitting with this image a question of what it observers comes to mind. That is, what stands beyond an individual’s reality, what are we allowed to see or know about our self?

One is tethered to the world in conscious and unconscious ways. One discovers they are figured-out and glimpses this notionally. Whether this concerns generation or degeneration is a matter for the observer looking-in, one who returns to forming judgment about the work. Hands are sleeping and ears displaced – hearing what we will by circumstance, chance, or luck. All such in face of incessant information; perhaps grasping very little or nothing at all. Our daily lives vibrate by the strum of an internal, mental tension.

Figured means to ask what the world determines us to be and, what we shall make of ourselves? ‘What will I become?’ and ‘what am I, at any time?’ For we live in world which imposes identity and, when watching the world, we know it watches us back. We do so perhaps without questioning enough about our own being-figured by such.

Beyond implications of subject matter “Figured” was made by palette knife and detailed brush work. There are various motifs and tacit vamps suggesting a playfulness of an informatic world rapidly transformed by technologies; a seeming if not lingering disquiet about the future.

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New & Noteworthy: July 2022

70 Artists, 72 Products

Last Updated Jul 25, 2022

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Artist Profile

Born: 1976

Hometown: Cedar Rapids, Iowa

Based in: Singapore

I paint to address the question of thinking and the potential nonhumanity of the near future; a seemingly inevitable historicization exceeding the inhumane. Art must not become an entirely historical reprise. Whether an artist likes it or not “the artist is driven” in this way.

When painting I engage the substrate with deference to what is abstract to thought and the meditative act which immediately follows. I delay the conceptual phase, I avoid technical supremacy as emphases, opting for resemblances of the initial abstract I cannot plan in advance.

Similar to poetry subject matter is secondary, in the sense that I do not intend it as much as it is offered freely from an unknown. I readily admit to a mystification by this which, if over-indulged, would reduce the potential glimpse of thinking.


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