My first official assignment as a writer sent me to Downtown, Los Angeles at the Santa Fe Artist Colony to interview Lisa Adams. It was the winter of 2008, nearly five years exactly that I met Lisa for the first time. She had just applied spray paint to a large work titled We Destroyed the Things We Loved for a solo exhibition that would open in the New Year of 2009. The initial defilement of a painting that she had nurtured over a course of months bewildered her. But soon the spray paint became a part of her visual vernacular and it was no longer a defacement of the work but a vital addition to the elements at play within the environment of the canvas. Looking to nature, mainly the urban neighborhood that surrounds the Colony, is a mosaic of past and present where wildlife thrives despite the odds. Adams finds that the beauty in the natural world is in a state of discord, but that tension amounts to a poetic moment with a palpable energy felt in her work. This week CB1 Gallery is displaying Adams’ work in a booth at The Miami Project and it seemed an appropriate opportunity to examine the evolution of the artist thus far.
A moment where the artist was working on the two largest works of her career and the subject of tree carvings became a source of fascination.
In Blank We Trust: Paradise Notwithstanding
A photo diary of the urban and rural environments throughout Los Angeles where the artist defines her idea of “paradise.”
After nearly losing sight in one eye and a lengthy recovery, the experience opened a new window into the artist’s world.
The present moment.
Featured Image: Lisa Adams, Drowning Out All Birdsong, oil on canvas over panel, 65” x 84”, 2013 Courtesy of the artist and CB1 Gallery
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