Contributed by Robin Dluzen / Adam Scott’s latest exhibition, “Silent Running” at Julius Caesar in Chicago, is a kind of Helen-Frankenthaler-color-field-painting-meets-Gram-Parsons-desert-pilgrimage experience. The works are arguably Scott’s most pared-down and abstract to date, devoid of all but a suggestion of the representational. The artist fills each canvas, edge-to-edge, with his signature poured acrylic. The all-over compositions undulate with the ripples of metallic paint released onto the canvas and then pulled, creating a mirage effect that conveys the artist’s stated interest in desert landscapes. Scott describes his works as “hallucinogenic” and “phantasmic,” and they are, though not in the way one might expect.
[Image: Adam Scott, Terraform VII, 2016, acrylic on canvas, 76 x 70 inches.]
Adam Scott, Terraform IV, 2016, acrylic on canvas, 66 x 60 inches
Adam Scott, Terraform VI, 2016, acrylic on canvas, 66 x 60 inches
Adam Scott, Terraform I, 2016, acrylic on canvas, 58 x 43 inches
Adam Scott, Silent Running, 2016, acrylic on canvas, 76 x 70 inches.
Adam Scott, Terraform III, 2016, acrylic on canvas, 56 x 50 inches
Adam Scott, Terraform II, 2016, acrylic on canvas, 56 x 50 inches.
Author bio: Robin Dluzen is a Chicago-based artist and critic. The former editor-in-chief of Chicago Art magazine, Dluzen now writes regularly for Art Ltd Magazine, Visual Art Source and Art F City; her writing has also appeared in Newcity, The Reader, the New American Paintings blog, ArtNet, The Classical and The Outsider magazine. Dluzen received an MFA in Painting and Drawing from the School of the Art Institute of Chicago.
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