آدم سميث باركر
亚当·帕克·史密斯
아담 파커 스미스
Адам Смит Паркер

Umbrella Cloud

source: undonet

Estetica della sparizione. Panel discussion di Gaia Serena Simionati e presentazione del catalogo. Secondo il Corano, Al Ghaib significa letteralmente il non visto. Il misterioso termine include anche significati piu’ vasti: il credere in Allah, nella presenza degli Angeli, del libro Sacro, nei messaggeri di Allah e persino nel pre ordinamento divino. “Da queste premesse “Al Ghaib. Estetica della sparizione” narra una riflessione sull’assenza, presentando 27 artisti internazionali di 12 paesi diversi. Giovani e maestri si confrontano sul tema della scomparsa dell’Ego che genera il vero valore intellettuale e consente al Divino e al Sublime di manifestarsi. Usando tecniche diverse, dalla pittura, all’installazione, dal video alla fotografia, dal disegno alla performance, l’Epifania di Dio diviene la prima forma d’arte” (Gaia Serena Simionati). Ingresso libero, gradita la prenotazione.
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source: undonet

美国艺术家亚当 帕克 史密斯（Adam Parker Smith）在北加州出生和长大，现居纽约布鲁克林。他拥有一个加州大学的艺术学士学位和宾夕法尼亚州泰勒艺术学院的艺术学硕士学位。他在英国及意大利学习绘画，他的作品在许多机构展出过，例如特拉华惠灵顿现代艺术中心。

他的代表作品是以棉布、绒布做主要材料，再用细针固定位置；创做出许许多死人头，其人头来自不同种族，眼神呆呆滞滞，且每个创作的人头造型及手工技巧皆不一样，不过虽是以死人头为题材，但这些作品却不会令人感到恐怖，看久还会觉得十分有趣
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source: triangleworkshop

Adam Parker Smith is a New York based sculpture and installation artist. He received his BA from the University of California at Santa Cruz and his MFA from Tyler School of Art. Smith has attended the Skowhegan School of Painting and Sculpture, Sculpture Space, Bemis, Djerassi, Jentel, and Atlantic Center for the Arts. His work has been shown widely in the USA as well as internationally at Urbis,Manchester, England, Nordine Zidoun, Luxembourg, Priska Juschka, New York, The Delaware Center for Contemporary Art, Berkshire Museum, Massachusetts, The Soap Factory Minneapolis, Painted Bride, Philadelphia, Parisian Laundry, Montreal, and TSST Gallery in Hong Kong. Smith’s work has been written about in New York Times, Art in America, Beautiful Decay, The Village Voice, Fiber Arts, ArtForum.com, Art World, White Wall Magazine and The New York Post.

Constructing the aftermath of invented ceremonies and transcendental experiences from materials mined from vernacular culture, hardware stores and inherited collections of fabrics, I mimic the human endeavor to understand the universe through a bizarre confluence of real events, daydreams and preexisting fables. Through this combination, I establish psychological sites for disparate elements to congregate in environments that are simultaneously haunting, familiar and alien. These tragicomic installations are private, uncensored, darkly humored and most often involve the direct participation of the viewer. Currently I am continuing my ongoing exploration in various media of the cognitive ambiguity of our feelings – what lies beneath the surface of our emotional memory. This new work assumes quasi-characters who play out a psychological ambiguity where celebratory events, a birthday party, an anniversary and their commemorative rites, become not only an occasion of joy, but a testimony to the unspoken emotional turmoil of the characters involved. I would like to sculpturally paraphrase Sigmund Freud’s ”The Uncanny”” – a cognitive dissonance or “uncanniness” in our domestic sphere, provoked by an uncomfortable feeling caused by simultaneously holding contradictory ideas or beliefs – hopefully subjecting the viewer to a repertoire of psychological references.
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source: gallery-gray

Constructing the aftermath of invented ceremonies and transcendental experiences from materials mined from vernacular culture, hardware stores and inherited collections of fabrics, I mimic the human endeavor to understand the universe through a bizarre confluence of real events, daydreams and preexisting fables. Through this combination, I establish psychological sites for disparate elements to congregate in environments that are simultaneously haunting, familiar and alien. These tragicomic installations are private, uncensored, darkly humored and most often involve the direct participation of the viewer. They are populated by subjects pulled from the fertile environment of my fears and longings, polluted with filth, obsessions, crushes, jealousy and grace. With no attempt to disguise the material makeup, my methods of construction parallel the imperfections, flaws and vulnerability reveled in the subject’s characters. As guilt, fascination and loyalty encroach, flawless heroines confront heart ache, fools distinguish beauty from the grotesque, and the wretched mourn the loss of irreproachable purity.