For me, painting is an act of translation and transformation. At each successive step, I watch my gestures evolve and transform. The amphora feels like a natural extension of this approach.
Adam Pendleton
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Collect a hand-painted ceramic amphora by Adam Pendleton, launched in support of charity: water.
In his earliest Black Dada paintings Adam Pendleton used only shades and tones of black, combining conceptual inspiration from serialised, logic-driven artworks like Incomplete Open Cubes (1974) by Sol LeWitt with layered, gestural applications of paint. More recently, he has introduced colour. In the case of the painting referenced by his amphora, ultramarine. The process of transformation – from two to three dimensions, from canvas to clay – echoes the sequential transformations and diverse media that characterise Adam’s practice.
The artwork belongs to a series of seven, conceived and crafted in a transatlantic collaboration between Artspace and Avant Arte. Proceeds will support charity: water in their endeavour to end the global water crisis.
Adam Pendleton1 collaborationThe words ‘Black Dada’ are frequently emblazoned across Adam Pendleton’s works. Named for the Amiri Baraka poem Black Dada Nihilismus, Pendleton borrowed the term to describe his artistic practice. European Dada was a rejection of mainstream aesthetics in the aftermath of World War I in favour of art that embraced irrationality and protest. Although Black Dada incorporates elements of this movement, such as collage, the world that Pendleton responds to requires new visual codes. Working across film, painting and performance, he presents an artistic world full of juxtaposition and daring abstractions.
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