CHARLIE ADAMS

The predilection of an artist towards a certain medium is a telling transmitter of creative intent, and forms a kind of genomic blueprint underpinning each artistic array. Beyond the literal experience of manipulated matter comes a speculative blossoming, a fecund field of mystic play, to be enjoyed by the viewer. Let’s consider that the cytoplasm of science, in this case, is one small ideological shift away from the ectoplasm of Victorian spiritualist mediums, both claiming to represent evidence of activity beyond the limits of human sensory verification. It is within these margins of entropy that we can locate Adams sensibility and then, as is our want, place it within the canon of Western artistic tradition.

What differentiates Adams painterly brushstrokes is the forward-facing trajectory of his surfaces. The glossy flat, layered, almost holographic imagery combined with the negative entropy of his sculptural objects collectively redirect scientific knowledge back towards abstraction, from whence it came. The intelligent visual sensations of Stroma Funk that we can see, remind us of the intelligent forces that we cannot. The gelatinous chartreuse and eco-delic colour of Adams pallet not only provide a visual kick you can almost taste, but seem to harbour vital coded information, at once familiar and elusive, about the works own composition.

Poetically, the creative process of the contemporary painter has much in common with organic growth structures. Stroma Funk unfurls with the deliberate procedural approach of