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Adam Staley Groves

Karine

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Adam Staley Groves

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Karine by Adam Staley Groves

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$ 5,000

Overview

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2022

Oil on canvas

Unique Work

Dimensions: 162.6cm (H) x 121.9cm (W) x 7.6cm (D) / 64" (H) x 48" (W) x 3" (D)

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

Artist Statement

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The name “Karine” means ‘pure’ in both Scandinavian and the Greek Αἰκατερίνη. Romanized from the Japanese かりね it means ‘to sleep away from home’. The subject matter suggests something similar where this figure transforms from three to one across the blackness of space. Among its resilience is the discovery of transformation. As the three to oneness is repeated centrally by two opposing variations of the same.

“Karine” was created in the summer of 2022. It began with palette knife work direct to canvas which established a general form. Then it underwent variations and layering by oil and pigment. This painting has been sat with extensively. And in the sitting with, it persistently evokes a prismatic diversity of light and noetic transformation. It has a slight uncanny commentary where flesh tones are stretched, releasing the light within each cell which informs the intelligence of the sky. Whether or not this is anthropromophism is uncertain but it seems to evoke terrestial kinship – at least to wonder the difference between sky and ground. Near center-top there is a repetitive suggestion or single figure digressing into blackness. There is a dance to all found figures thus far which evokes a question: Is there a possible place of ‘pure sleep’?

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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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