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Adam GunnOne Damn Thing After Another2016
2016
$4,200
£3,158.06
€3,667.28
CA$5,865.21
A$6,504.95
CHF 3,416.08
MX$79,885.46
NOK 43,244.37
SEK 40,780.02
DKK 27,361.91
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About the Item
Messages in a Bottle
Text by Cameron Skene
“Metaphysics is a dark ocean without shores or lighthouse, strewn with many a philosophic wreck.” - Immanuel Kant
A recent online story in the German news outlet Deustche Welle posted a video of a boy’s lost waterproof camera which slipped off a rock on a Yorkshire, UK beach and rode the currents 800 kilometers across the North Sea, where it was found on the shore of a German island. The footage recovered from the camera (which was initially balanced on the rock while the boy and his sister played) recorded their 11-minute bout of distracted meandering in and out of the field of vision. Other figures enter and exit, pausing to contemplate the scenery until near the end of the clip, where the tide sucks the camera into the sea.
Then, the fun begins. Swirls of seaweed and ocean junk float in and out of the lens’ periphery in a muted, fleshy kaleidoscope. Ragged, half-torn shapes bunch together and break apart in the murk; recorded gurgling sounds evoke an unsteady, synesthetic reverie.
Gunn’s pieces harbor a muted, oceanic palette, possibly derived from his experience growing up on the east coast of Canada. However, the works have a more accurate purchase on still life, with more flotsam than ocean.
An improvised but disciplined approach to the base elements of each piece allows the artist to access sub-genres as varied as seaborne junk drifting across a submerged camera lens. Gunn references some of the idioms of the ‘lesser’ arts: drifting mineral and vegetal forms are denoted with a brisk painterly touch that recall more vernacular approaches like rose mauling on rounded surfaces, or reverse landscape paintings on convex glass.
Intuitively conceived and carefully constructed, the irregular, rounded substrates sport smooth concave surfaces, eliciting demi-objects that emerge and retreat like quantum particles in a field.
These kinetically engaged forms dance on the skin of the painted surface and interact with the peripheral tension of the shaped edge. In works like Wave After Wave (2016): an uprooted Christmas tree appears. In others: vegetal remnants. Furry things. Squiggly things. Smooth things. Fragments of things. Meaty bits of dashed-off paint that hover on the surface: a stand-in for other things.
In tighter works like Deep Down (2016), the figure hovers in a force field of surface and ground: a densely knit, wet disco ball of emergent forms.
The Origin of the Universe (2016), singular in its thinglessness, with its vaguely vaginal nod to Courbet, coaxes the viewer to nestle in the void of unrequited expectation.
The exhibition title, Anyplace, Anytime, for No Reason At All, is lifted from an interview with Frank Zappa, describing his compositional method, which puts an emphasis on a rigorous technical competence combined with a loose assemblage of approach. The quote finishes with, “I think with an aesthetic like that you can have a pretty good latitude for being creative”. Gunn’s transcription of that approach provides a persuasive proposal of how a painting can be an aperture into an ocean of aesthetic inventiveness.
- Creator:Adam Gunn (1977, Canadian)
- Creation Year:2016
- Dimensions:Height: 58 in (147.32 cm)Width: 60 in (152.4 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Montreal, CA
- Reference Number:1stDibs: LU4762367063
Adam Gunn
Adam Gunn's painting practice began with a desire to subvert the traditional still life genre, creating an absurd experience that would evoke a sense of uncertainty in the viewer. Initially, they painted from observed forms, exaggerating them and creating surreal compositions. However, their newer works incorporate a variety of sources, including imagination and organic processes to create indeterminate spaces and shapes. The artist is drawn to the unpredictable process that creates these forms and has begun painting in a more improvisational manner, balancing this with planning to emulate the process of natural evolution in their paintings. The artist received a BFA from the Nova Scotia College of Art and Design and has been recognized for their works in various competitions, including being a finalist in the RBC Painting Competitions and a regional winner in the BMO 1st! Art competition. Originally from Nova Scotia, the artist currently resides in Montreal, pursuing graduate studies in art at Concordia University.
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