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Dealing
with themes of science fiction, technology and the future, Adam
Ross makes images that contain architecture often in the form of
geometric shapes floating in front of an infinitely flat landscape.
These elongated tubes, squat cubes, and abstract polygons suggest
both physical and digital forms. Smokestacks, tubes, pipettes, barrels,
walls, columns, and tunnels are all possible interpretations. They
are disparate in their appearance but all fall under the category
of modern, human-made, and technological objects. The meticulously
detailed rendering and bright colors make the shapes appear purely
digital as if conceived and rendered on a computer. This dual reading
of the subject matter demonstrates Ross’ interest in a virtual
realm and its relationship to our physical world. The paintings
and works on paper are an investigation between utopian ideals and
the reality of the future - an intersection between these two different
but increasingly convergent spheres.
In
a sense, Ross is a digital-realist influenced by the photo-realists’
obsessively rendered physical perfection but departing from their
camp by changing subject matter. Instead of painting as close a
version of physical reality as possible, Ross paradoxically portrays
a non-existent reality. Ross’ unique ability is to visually
translate the digital and all its promises of order, rationality,
and utopia. The paintings’ evocations of architecture and
materiality result in a cold, sterile feeling but one tempered by
humanity’s complicity in its aspirations.
Adam
Ross' work has been shown at the San Francisco Museum of Modern
Art, MOCA, Los Angeles, The New Museum, New York and the Henry Art
Gallery in Seattle. Ross’ pieces are featured in numerous
collections and he exhibits in Europe on a frequent basis. |
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