Adam Dix in conversation with Candida Stevens

June 17, 2021

There is a lot to talk about with Adam’s work, here are some of the questions asked;

 

A lot of your work looks at togetherness, but addresses how, as a result of modern technology, even when we seem to be together we are often actually still alone, acting individually while consumed by social media and so begging the question, how together are we?

 

There is a historical feel to much of your work, a feeling of imagined worlds and at times a suggestion of ceremony and perhaps religion or worship. You talk about how communities have always had objects of worship, which have acted as a means for bringing people together, is the only difference today the objects?

 

Two pieces in this exhibition, Cortege and Beacon, look at the notion of pilgrimage and collective experience. The sound mirrors at Denge in Kent, now defunct has become a place where people gather. Why do you think that is? And is this look at why people gather central to a lot of your work?

 

Your work is made up of many many layers of oil glazes, this gives the effect of the work breaking up as you get very close creating a mirage like effect, adding to the dreamlike quality of the work. This must be immensely time consuming. Was this purposefully created to align with your message, the transitory nature of everything?