Adams Puryear

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Artist’s Statement

Adams Puryear explores the Internet’s flow of convoluted information and how tactile materials and different media can represent it. Experimenting with physical translations of the Internet’s anti-filter rabbit hole, Adams continues to return to the materials of ceramic and gypsum to create historically sedimented sculptural elements contrasting present-day electronic displays and dynamic materials. Obsessively grazing over electronic images of history and culture, Adams understands the Internet’s growth and its visualization of time as one slowly unfolding in a nonlinear and ultimately muddled formlessness. In much of his work an amorphous and colored blob, moving in-real-time from a ceramic container, becomes another dichotomy to the push-pull of digital-analogue, historical-new, formal-experiential oppositional elements in the work. Paradoxically it is this oozey blob — a material with a comparatively short lifespan and history that over weeks empties from the sculpture’s body and continues to change until it reaches a solid state — which slows down a viewing and resists a tidy resolution. This is the work’s answer to our culture’s continued acceleration.

Adams Puryear received a BFA from the Massachusetts College of Art in 2004 and an MFA from Indiana University in 2012. His work has recently been featured in exhibitions around New York, the Nelson-Atkins Museum in Kansas City, and the Museum of Art in the Dominican Republic among others. He is also the founder of FPOAFM Nomadic Studios, a project-driven experimental art/craft collective engaged in functional art discourse.
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About Posit Editor

Susan Lewis (susanlewis.net) is the editor of Posit (positjournal.com) and the author of ten books and chapbooks, including Zoom, winner of the 2017 Washington Prize, Heisenberg's Salon, This Visit, and State of the Union. Her poetry has appeared in such places as The Awl, Berkeley Poetry Review, Boston Review, The Brooklyn Rail, Cimarron, Gargoyle, The Journal, New American Writing, The New Orleans Review, Prelude, Raritan, Seneca Review, So to Speak, Verse, Verse Daily, and VOLT.

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