Adam's profile
I can clearly remember my father walking me down to the train tracks behind our house as a young child. Freight trains would stop there from time to time, allowing my dad to demonstrate with a soupy can of black spray paint, a huge ?NEW MODLE,? the name of a storefront my friends and I had converted into an underground music space. He said, ?This is what you do,? and passed the can over to me, where I would begin my career in visual self-expression.
As an early teenager, I had the good fortune of growing up in the punk community of Columbia, South Carolina. The ?Do-It-Yourself? ethics involved in everything from designing our own fliers, albums and t-shirts, to starting our own venues and touring the country affected my approach to visual art. I automatically took to the direct access of graffiti art to express myself and communicate with the viewing public. As I got older, what I wanted to say with my art became more complex. I now utilize the gallery and formal art institutions along with DIY institutions and direct public interventions in order to communicate to the largest possible audience. I had the opportunity to develop my work in early 2000 era Brooklyn, where artists who were working along the same vision, created the origins of America?s ?Street Art? scene. In recent years, the impetus from the public?s interest in this burgeoning movement has allowed myself and other artists with a similar aesthetic, to enter the greater conversation of ?Fine Art.?
My work often uses discarded or ready-at-hand materials and transforms them into objects containing traditional Fine Art aesthetics, while addressing social and political concerns of class, control and nationality. I have taken methods of subversion from a multitude of avant-garde movements, and created a body of work that is both wholly contemporary and concerned with illuminating the corners of subculture personal to my experience: punk rock, graffiti, hopping freight trains, zines, and protest culture. My work functions as a gateway between these underground worlds and the moneyed mass-culture of the art establishment. Each of the disparate mediums I use enables me to tell a different aspect of the central story of class struggle and freedom of thought and expression. The totality of my artwork can be seen through the culmination of these elements: sound, video and print media, along with the combination of illegal public interventions and gallery installations.
As an early teenager, I had the good fortune of growing up in the punk community of Columbia, South Carolina. The ?Do-It-Yourself? ethics involved in everything from designing our own fliers, albums and t-shirts, to starting our own venues and touring the country affected my approach to visual art. I automatically took to the direct access of graffiti art to express myself and communicate with the viewing public. As I got older, what I wanted to say with my art became more complex. I now utilize the gallery and formal art institutions along with DIY institutions and direct public interventions in order to communicate to the largest possible audience. I had the opportunity to develop my work in early 2000 era Brooklyn, where artists who were working along the same vision, created the origins of America?s ?Street Art? scene. In recent years, the impetus from the public?s interest in this burgeoning movement has allowed myself and other artists with a similar aesthetic, to enter the greater conversation of ?Fine Art.?
My work often uses discarded or ready-at-hand materials and transforms them into objects containing traditional Fine Art aesthetics, while addressing social and political concerns of class, control and nationality. I have taken methods of subversion from a multitude of avant-garde movements, and created a body of work that is both wholly contemporary and concerned with illuminating the corners of subculture personal to my experience: punk rock, graffiti, hopping freight trains, zines, and protest culture. My work functions as a gateway between these underground worlds and the moneyed mass-culture of the art establishment. Each of the disparate mediums I use enables me to tell a different aspect of the central story of class struggle and freedom of thought and expression. The totality of my artwork can be seen through the culmination of these elements: sound, video and print media, along with the combination of illegal public interventions and gallery installations.
You have not yet created a curated collection!