In the abstractions, color, rhythm and intuition of Lindsay Adams converge

A good abstraction requires an essential element: the absolute command and the awareness of one’s body. Most of the time, abstraction is modeled by the complex interaction of physical and mental movements, a process in which the movement and sensation are translated on the canvas by an intuitive color flow and to make an uninhibited marking.

However, another crucial factor is to find harmony and balance in the seemingly chaotic accumulation and to stratify the painting gestures – a process that follows the turbulence of the artist and sensory answers. In this way, a strong abstract painting works just like a well -composed piece of music, where the sounds, movements and disparate breaks are carefully counterbalanced. Abstraction, as a musical composition, becomes a way to navigate and understand an intangible space – one that perfectly interweaves the materiality of our sensations with the ephemerality of emotional and mnemonic reactions, existing before language or coded interpretation.

Lindsay Adams“The vibrant restrictions exist precisely at this intersection, where a deep physical and lyrical response is carried out. Her work negotiates the relationship between self and surroundings, forming infinite expressive emotions, sensations and possibilities found in this liminal space. “Abstraction is both a language and a way of thinking – an approach that allows me to engage with possibilities, rather than with certainty,” said the artist Oberver at the opening of the debut solo with the Sean Kelly gallery, against this year’s frenetic energy. Frieze Los Angeles. “For me, abstraction is not void of meaning; It is more an instrument for expanding meetings, making space for intuition, ambiguity and sensory. “

By fluctuating into airy, steamy atmospheres, calibrated amounts appear as if they could extend infinitely, unfolding in a harmonious sequence that moves with its own internal rhythm -a cadence of repetition and continuous variation. Its purpose is to create a dynamic but open abstract field, in which the viewer is invited to wander, derive and surrender to the sensations and suggestions activated by the canvas. This concept also informs the title of the exhibition, “Keep the miracle in motion”. Initially taken from a note written by the poet Patricia Spears Jones to the philosopher Audre Lorde, the phrase encapsulates the ability of Adams to build parallel sensory dimensions and to evoke whole worlds, giving the viewer the freedom to navigate so many imagination possibilities, to unlock: ” It allows to have several realities simultaneously, so that the gestures have both history and futile. “

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In his latest work body, the approach of abstracting of the Chicago artist feels more released and fluid than in previous years. Dividing the need to link his abstractions to the natural world, Adams fully abandoned the floral references that characterized her previous works, transforming the painted surface into an open, constantly changing field. “The abstraction is deeply linked to both freedom and liberation; It allows to have several realities simultaneously, so that the gestures have both history and futile, ”she explained. “As I think of how my work has evolved, meeting at the intersection of both representation and abstraction, I appreciate the latitude that allowed me.”

Like a harmonic progression, the rhythmic stakes of Adams’s color, with their lively tones, introduce change and contrast, waving on a more homogeneous chromatic atmosphere, as if reflections of bright light on a liquid surface or of the upper tones of an experience of clarinet or saxophone dynamic and saxophone.

This analogy is something that Adams is deeply aware of, and its process “moves between spontaneity and control, like improvisation music – where rhythm, repetition and silence play a role.” It believes that the creation of intuitive brand is an act embodied that bears the weight of memory, movement and emotion. “At the same time, there is a musicality of how they make up a painting – the clear markings work like chorus, the colors create harmonies and tensions, and the space works both as a break and breathing.”

In its activity, the rhythm results from a continuous dialogue with the canvas, a back and back process in which it enters and exits the universe it creates, pushing the limits of expansion in the organic growth suggested by color and space. “My process is rooted in response – each brand, washing or layer is based on what has come before, creating a conversation between intent and discovery,” she said.

Calibrating the moments of action and silence, repetition and variation, intuition and control, the artist engages in a continuous negotiation between her physical presence, her emotional responses and the canvas. “My body always negotiates with work, responding to the scale, texture and resistance,” she said, and in this sense, despite the completely abstract vocabulary, Adams’s paintings are inevitably political implications, as we cause us to consider how our bodies and minds react, browse or surround ourselves, Continuously, let’s process ourselves to interact with a world open daily.

Adams’s abstract cloths function as discovery spaces for both the artist and the spectator. The canvas becomes a site for the awareness of the training – the perception and presence of someone in the world, the way in which the experience and the way in which it can be translated and expressed in both language and beyond is processed. “This balance between instinctive and intentionally mirrors how we sail the world – where the structure and improvisation coexist in the rhythm.”

Lindsay Adams ”Keep the miracle in motion“He is watched at Sean Kelly in Los Angeles until March 8, 2025.