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Adam Adach

Wilk 1, Wilk 2, Poland, 2007

Oil on canvas,
200X180 cm

Courtesy of the artist and Arndt and Partner, Berlin/Zurich

Beyond the motifs that Adam Adach has chosen to paint, drawn from the margins of our lives, and from the fears and apprehensions lurking in wait for us, he employs his painting techniques to stress the tension and uncertainty involved in such situations.

Adach’s painting aims for innovation and minimalism in reporting the details, by means of brushstrokes generally remaining uncompleted. He does the minimum required to establish the image, doing little to portray the light, shadow and structure of the object. In most instances, his works are a kind of sketch calling for completion in the eyes of the beholder. The degree of freedom reflected in his works encloses the subject of the painting in an envelope of troubling impermanence. The monochromatic colours of his work stress the alienation in the interrelationship between man and landscape.

The white and black versions of the portraits of wolves are on the one hand, a tale and its opposite, but on the other, it is telling the same story in a different version. What is the significance that the artist attributes to the portrait of the wolf in relation to the observer? Does he set before him a mirror, or is he offering a more monumental meaning, stemming from the dimensions of the work, and thus referring to a portrait of society as a whole?