Post Pop For All
By Gabriel Diego Delgado
Adam Spear’s new body of artwork delicately dabbles in the commercially viable palette of post-pop imagery while simultaneously throwing a middle digitus impudicus to the quasi-establishment of monopoly driven designers who volley for acceptable faux graffiti.
Yes, Spear has toned down his juxtaposed painterly and image-driven narrative that once revolved around the rudimentary protagonist, but he has replaced it with a highly self-edited and toned-down cryptic zest of grey-scaled urban decay.
New backgrounds include facades that resemble puckered wheat pasted posters on abandoned buildings to pirated copy-right infringed appropriations what reek of mockery to the corporate enterprises.
His flair of capturing the placid and low-key counter-culture vibes or the self-centered fashionista personality play center stage to something more diabolical and sinister, more underbelly- a world of deviancy, of anti-authoritarian regimes, of anarchistic revelry.
In “Relax”, a mixed media painting measuring 48” x 48”, Spear lobs an Abercrombie & Fitch persona at the viewer, complete with trucker hat, short shorts and canvas high-tops. If you look carefully, you can see the Adbuster infringement; smooth like freshly rolled tar— pungent in its high temperature of toxic exhaust. Our nostrils flair and our insides clench, but we know it’s needed to allow the plight of metropolitan movement.
The same applies here, Spear acknowledges the trivial and uni-dimensional poser that mimics the authentic social norms. He accepts the trifling barrage of mindless advertisement, but redirects, flips, and arrogates these notions to smooth the graphic highways of billboard liberation.
“New Wave” pierces our self-imposed and transparent barricade…those communal rose-colored glasses of consumer culture acceptance. A tattooed model’s gaze is redirected past the viewer to the unknown--the abyss of consumerism teaming with shopping mall kiosks of wooden cell phone covers and aromatic incense dispensaries.
The evidences and plight of taggers and juvenile misfits run amok on the painting surface. Layers of lacerated symbolgy conceal gestural marks by the artist, like some kind of gang cross-out war; but this home turf warfare is internal and yet instantaneously external – a metaphor for the overabundance of capitalistic tendencies by industrial savants.
Adam Spear’s new work has visually matured by leaps and bounds…artistic movements that continue to plot destructive demises on the restrictive shackles of oppressive consumerism.
As interviewed over the phone, Spear says his world is “upside down”.“My days are flipped…I paint all night now and sleep when I can. The room I am in now, is the room I also paint in. I don’t go out to the store too much anymore. I am ordering things online constantly,” he adds.
As he continues to distance himself further into seclusion, he has also deeply submerged himself into the virtual realities of artistic existence.
From online and free-sourced programs to creative suites, Spear uses a wide-range of graphic software as tools as a means to an end. Not only is he highly cognizant of his decisions to utilize these digital programs, but he is also conscious of his decision to then reverse this train of thought and use the digital compositions only as muses and inspirations by painting them “organically” onto the canvases and panels; bringing his artwork full circle back to the painter’s hand and the coveted artist touch.
A hero in his own way, he finds unique ways to cope, just like all of us.
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To read additional articles by Gabriel Diego Delgado, click image for links.
Aso See Adam Spear in the newest edition of “Contemporary Land Magazine” !
Read the article here: https://issuu.com/
gdelgado2010/docs/ contemporary_land_magazine_4- 19-2020