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John Bankston
Amy Blakemore

Davis and Langlois
Tanya Batura
Margot Quan Knight
Mirror Mirror
Alexander Kroll
Jason Hirata
Amir Zaki
Ron Nagle
Akio Takamori
Danny Lyon
Mary Ann Peters
Luis Tomasello
Eric Elliott
Andrew Witkin
Jeffry Mitchell
Steve Davis
Introductions: David Huffman
Adam Sorensen
Francois Van Reenen
Beth Campbell
Claude Zervas
Stephanie Syjuco
Todd Simeone
Jason Teraoka
Vik Muniz

Scott Foldesi
Mark Mumford
Claire Cowie
Yunhee Min
Roy McMakin
Tania Kitchell
Richard Rezac
Carlos Vega
Eric Elliott
Squeak Carnwath
Maki Tamura

Margot Quan Knight
Gary Hill
Message In A Bottle
Adam Sorensen
Claire Cowie
Bing Wright
Roy McMakin
Katrina Moorhead
Claudette Schreuders
Marcelino Goncalves
room X room
Rashid Johnson
Scott Foldesi
Shaun O'Dell
Claude Zervas
Amir Zaki
Glenn Rudolph
Angela Fraleigh
Jeffry Mitchell
Steve Davis
Mary Ann Peters
Mark Mumford
Roy McMakin
Geoffrey Chadsey
Patrick Holderfield
Junctions
Todd Simeone
Claire Cowie
Laura Letinsky
Keith Tilford
Mary Ann Peters
Jeffry Mitchell
Richard Rezac
Stephanie Syjuco
Claude Zervas
Squeak Carnwath
Marcelino Gonçalves
Peter Schuyff
Tom Baldwin
Tania Kitchell
Jeffry Mitchell

Shaun O'Dell

Mark Mumford

Efrain Almeida

Keith Tilford
Glenn Rudolph
Claire Cowie
Patrick Holderfield

Ramona Trent
Roy McMakin
Yunhee Min

Claude Zervas

Casey Keeler

Henry Turmon
Lisa Liedgren
Laurie Reid
Amir Zaki
Adam Ross
Richard Rezac
Geoffrey Chadsey
Claire Cowie
Michelle Fierro


Adam Sorensen

January 10 – February 9


 

National Park (Blue Stone), 2007, Oil on Panel, 22" x 16"

 

 


James Harris Gallery is pleased to present Hinterland, an exhibition of paintings by Portland artist Adam Sorensen. Employing numerous sources in his compositions – which range from Surrealism to The Hudson River School to Japanese Anime – Sorensen explores the contemporary landscape in a way that captures how ecological circumstances have displaced traditional ways of imagining and relating to the natural world.

By utilizing a wide variety of formal means, Sorensen electrifies traditional representations of the world around us. His application of paint alternates from thick, self-referential swabs to smooth chromatic transitions that are reminiscent of computer graphics. Dark, earthy tones collide with outbursts of quasi-psychedelic colors, which can read either as signs of buzzing vitality or as instances of polluted deformities. Some compositions use a low point of view to evoke a sense of grandeur and majesty, while others monumentalize small rocks and trees to create a sense of intimacy and lending significance to minute details.

These compositional devices, borrowed from Romanticism, lend the works an underlying visual coherence in spite of their eclecticism. Together they build a contemporary sublime that exposes an ever shifting landscape beyond measurement or imitation. Sorensen shows us a world that is both beautiful and unsettling and, in turn, provides us with an excruciatingly honest picture of today’s natural environment.

   

 

T.O.P.O.6, 2007
Watercolor and Pencil on Paper
7 ¾” x 12”
T.O.P.O.7, 2007
Watercolor and Pencil on Paper
7 ¾” x 12”
 
 
 
 

 

 

 

 

 

 
 
Adam Sorensen
Dead Tree, 2007
Oil on panel
28" x 26"

 
 
Adam Sorensen
The Clough,2007
Oil on panel
54" x 46"
 
 
Adam Sorensen
Grove and Hazard, 2007
Oil on Panel
32" x 26"
 
 

Adam Sorensen
Monuments, 2007
Oil on panel
54" x 46"
 
   
  Adam Sorensen
No Hills¸ 2007
Oil on panel
25" x 21"