b. 1976 - painter/collagist/printmaker - studied Fine Art at Chelsea, St Martins and Berlin Institutes between 2002-2006
In the wake of the anti - Blair/Bush protestations, and having found a political conscience, Adam' politically sardonic degree show courted interest from Lazarides Gallery, leading to an invitation to participate in his first post graduate group show on Greek Street with Banksy/Micallef/Hewlett/Insect et al. This turned a few heads and led to a 3 year love affair with the street art/urban/contemporary art scene, a prolific run of group shows, projects/collaborations/charity work/fairs and auctions - as well as a number of adventures and new friendships with artists and galleries.
In 2009, while expecting his first child, and still flirting with the “soon to boil over” street/urban scene - Adam stepped back and started to re-explore and re-investigate the personal and autobiographical and stylistic themes that had first driven his practice. Themes he has held on to and evolved in recent years.
Pivotal to his ongoing practice and commercial presence has been the nourishment and collaboration with the Jealous Gallery family, from mutually humble beginnings where he published his first limited edition prints in 2007, and regular editions since, to his more recent debut two man show under the Smithson Gallery banner, in association with Jealous East - showing bold and beautiful nostalgic paintings of his family alongside Jono P Boyle
“I’ve made paintings of my collages sourcing images from all and everywhere - often allowing myself to indulge the aesthetic. Today I’m more conscious of what my work tries to do/explore/convey and say. My practice is a reflection of my mind/interests/concerns and whims. Artist/painters that I can relate to are driven by an internal voice to make work, without necessarily being immediately aware of why. You may never really know why you make certain works, or why you are drawn to specific subject matter. On a fundamental level it’s a compulsion with the things that fascinate you both on a conscious and sub – conscious level, the heavy stuff and the beautiful stuff."
There is though an undeniably obsessive trait to Adam's paintings, as his labour - heavy/painstaking canvasses (and more recently works on paper) embody the "human screen printer” within, replicating the half tone bendy dot by hand, in monochromatic and full cmyk inks.
"The process is part of the obsession, part of the ritual."