Virtual Voyage (Pandemic Plein Air)
Oil on apple packaging
8 x 11 x 2 inches
Primarily a landscape painter, Peter Adams is interested in questioning where we go to seek beauty and where we go to recharge. His work highlights the complexity of calm immersion innature, juxtaposing realism with abstraction, seeking serenity in a frenetic and chaotic world. Each of Adams’ compositions is characterized by a unique architectural framework fleshed out with deliberate and gestural marks. Every piece is a creative journey, an effort to capture the emotional essence of place and the essential energy of a particular landscape.
Much of my work has centred on human engagement with the landscape. I have long been interested in the realm in which human and natural worlds meet - both in harmony and in opposition.
“We are often told we are a materialistic species,” says author and Guardian columnist George Monbiot “But if we were genuinely materialistic people, we would understand where materials come from and where they go to.”
My Earth Scar Series is focused on landscapes transformed by humans in some of the most remote parts of the world. I see the paintings in this series as reflecting pools for a discourse on our relationship with landscape and our changing attitudes toward resources. Most of the works in the series explore the world’s largest open-pit diamond mines; but these pits, and the resulting slag piles symbolize our hunger for resources of all kinds.
When I participated in the Labverde residency in Brazil, I painted the remarkably grand and complex Amazon rainforest inside of handheld mint and cigar tins. I saw these pieces as tiny souvenir boxes which symbolized our desire to always take something home from our travels; as well as echoing the desire of a scientist to contain a small specimen for further study. More recently, I have begun making paintings within the uniquely beautiful packaging of Apple products. I see these paintings as a comment on the ubiquitousness of consumer packaging of all kinds and as an acknowledgement that (the essentially useless) packaging of many products is sometimes part of the appeal of consuming the product itself. I also see these pieces as symbolizing our changing relationship to the natural world. Increasingly, we experience the larger world through miraculous pieces of technology.
I am interested in questioning our ideas about what is landscape, where we go to seek beauty and where we go to get back to nature. I am interested in the duality between painting something that is often deemed unattractive but is also strangely beautiful.