John Adelman

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<b>Mesosome</b>, 2017<br>Gel ink on canvas, 40x40 inches<br><i>sold</i>
Mesosome

<b>Montanistie</b>, 2017<br>Gel ink on canvas, 40x40 inches<br>$4500
Montanistie

<b>Line 1</b>, 2015<br>Pigment Pen and Acrylic on Canvas, 36x36 inches<br>$3200
Line 1

<b>Line 3</b>, 2016<br>Pigment Pen and Acrylic on Canvas, 19x19 inches<br>$1500
Line 3

<b>11,692 Parts of A Still Life</b>, 2015<br>Gel Ink on Paper, 24x20 inches<br>$2000
11,692 Parts of A Still Life

<b>12,568 Tracings and Labels</b>, 2016<br>gel ink on paper, 32x25 inches unframed<br><i>sold</i>
12,568 Tracings and Labels

<b>17,685 Tracings & Labels</b>, 2015<br>Gel Ink on Paper, 26x23 inches<br>$2200
17,685 Tracings & Labels

<b>62,234 Nails</b>, 2015<br>Gel Ink & Acrylic on Paper, 52x28 inches<br>$5000
62,234 Nails

<b>Hoo</b>, 2015<br>Gel Ink on Paper, 46x46 inches<br><i>sold</i>
Hoo

<b>Incongruously </b>, 2015<br>Gel Ink on Paper, 50x41 inches<br>$5000
Incongruously

<b>Infrangibility</b>, 2015<br>Gel Ink on Paper, 35x43 inches<br>$4000
Infrangibility

<b>Hansard</b>, 2014<br>Black Gel Ink on Museum Board, unframed<br>$1500
Hansard

<b>Flank</b>, 2013<br>Blue & Black Gel Ink on Stonehenge Paper, Unframed<br>$2500
Flank

<b>Caynard</b>, 2015<br>Pigment pen on white board, 36x48 inches<br>$4200
Caynard

Take a virtual tour of Adelman's 2016 two-person show here.

Read about his process in aether magazine here.

My drawings emphasize conceptual forethought and process are equal to the final product. The paintings/drawings are diverse in scale, subject, and resources, and all created in a formula driven manner. They are an ode to the component. Each work uses a single resource. This is a collection of specific quantities, such as an unabridged dictionary, studio contents or a selection of televisions. The component, through a variety of methods, is culled from the resource and coupled with a set of variables. Through a prescribed numerical or alphanumeric transposition system, the drawing is realized. This reveals an order and structure amongst the chaos, happenstance and improbability. While a work is in progress, I attempt to remove the activities associated with aesthetic concerns. Instead, I concern myself with those decisions at the moment of its conception. I then allow the formula to nurture the work to its final conclusion.

Among the variety, there exists three stable systems used throughout all the work. Materially constant is the use of gel ink pens. A commonplace utilitarian material intrinsically devoid of any Art capacity. Physically, the use of layering. The compounded layers produce rich luxuriant surfaces belying and transcending the utilitarian material. Third a conceptually imbued process of identifying the individual component’s uniqueness and capitulation to the whole.

When working with text, the only resource used is the 1979 Unabridged Encyclopedic Webster’s Dictionary (previous Dictionary used prior to Hurricane Ike’s destruction within my studio.) I write the word and definition(s) until the formula is complete. The word that directly follows that last word of the previous piece becomes the new work’s title. The title word‘s definition is changed from the meaning ascribed it by the English language to a definition on how this particular work is structured..

web site: www.thejohnadelman.com

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