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Adam Staley Groves

Hands Free

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Adam Staley Groves

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Hands Free by Adam Staley Groves

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Hands Free

by

Adam Staley Groves

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Exclusive to The Artling

$ 1,500

Overview

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2021

Oil on canvas

Unique Work

Dimensions: 91.4cm (H) x 61cm (W) / 36" (H) x 24" (W)

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

Artist Statement

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“Hands Free” was painted in 2021. The title suggests a future of the hands as hands do not appear in the image. Painting often concerns the hands. And implements used to paint are their extension; even if one paints with the foot or mouth, a tool is thought to obey the hand’s thinking.

Yet this thinking of the hand is countered by the thinking of the tool a hand invests in it. Specifically “Hands Free” was composed by palette knives and a single-stroke, layering technique. It features thick cadmium hues which counter balance the removal of paint by palette knife. Removal reveals canvas grain made distinct by a matte finish achieved by ‘wet technique’ or the mixing of pigment on the canvas opposed to a conventional palette.

Crisp lines demonstrate the control and confidence of the knife stroke; a countering between the thinking hand and its thinking tool. This involves variations of applied pressure with respect to the tension of the canvas and viscosity of the pigment.

In terms of subject matter there are two arms. This could be a doubling of perhaps a single arm; it may be a repetition of an arm expressing nuances it may take if it were one. It could well be two distinct arms of a single person or, arms mirroring one another. Whatever the case the arms are not replications: they twin one another in a verisimilar way.

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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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