1955, Caracas, Venezuela
Fernando Adam currently lives and works in Barcelona, Spain. Born in Caracas in 1955, he studied art and design at the Instituto Neumann. He complemented his artistic studies with professional practices in carpentry and industrial design to be later integrated in the early stages of his art work. By overlaying diverse techniques in the use of industrial paints over wood supports, Adam seeks to explore the limits of painting as construction in the creation of his first Objetos Límite (limit objects) as creative media. The same object becomes later a support for a dialectical relation with the pictorial space in his bi-dimensional work. From the initial paintings of weightless tension between the abstract environments and the floating objects, Adam evolves into a more representational proposal where the house -as a main theme- becomes the locus for examining subjective notions of identity, displacement and temporality. In the creation of illusionary perspectives, the chair, the table, the stair, the window, or the door, are stable presences to inhabit domestic space from which to regard the external world. But the house becomes also a mutant and unfinished object floating into an ever changing landscape to challenge essential human questions over time and the sense of permanence.
In his recent work Adam goes further in the investigation of these constructive qualities. The surface of the canvas is broken into fragments to create a sense of something between two and three dimensions. The compositional values of light, weight and balance found in his refined pictorial technique are clearly set up in the assembly of the parts. The painting as an object becomes then a frame to hold the scattered pieces together. But the dialectical tension created between representation and materiality in this work seems to capture one instant of time, a present built from different dimensions of reality. This back and forward in the observation of the house as unattached object, but also as environment of architectural enclosure in the framing of landscape, creates a dual perception in a constant play between inside and outside, presence and absence, inclusion and exclusion.