Press & Interviews
“In Victory Over the Sun (the opera), the sun, representative of the decadent past, is torn down from the sky, locked in a concrete box, and given a funeral by the Strong Men of the Future.
Over 100 years later, here in the future, Victory Over the Sun (the exhibition) is a controlled environment showing paintings that use mechanical and/or chaotic processes. Overlaid repetitive screen printed motifs, lifted from several Harry Adam’s paintings and mashed together. Poured paint that’s allowed to run and mix in natural fractals on cracked and knotted gesso boards.”
"I do truly believe in painting in the 21st Century as an act of subversion. Contemporary society and culture doesn’t want dirty messy paintings full of beauty and simplicity with ever changing complex readings. It wants cold clinical clarity, cleanliness and easily PR’able concepts. Go to any major contemporary gallery or international art fair and you’ll see what I mean. On the whole, they lack love and soul and really don’t want it. That’s far too human and messy.”
"I’m also working on an idea that the only way to survive as an artist within the art world is to take on (at best) an amoral stance. To be able to not care about the tawdry mechanics and the drive conformity and timidity in art, exploit the idiocy of it all, and revel in your own creative buzz."
Click here to read the full interview on the Coney's Loft website.
"And so in 2007 we began to learn to paint again. I’d gone to art college as a painter, but whilst there discovered I didn’t like other painters… generally too rarified and bourgeois for my angry young man act at the time, so I stopped that first… then found out I didn’t like any other artists either. But through working with Billy I learnt that I didn’t need to worry about that and that painting, with all its faults manifested and amplified in the art world, was still probably the most difficult and rewarding of the art forms… and we wanted some of that."
Click here to read the Floorr Magazine interview.
"In the same way that the original mural painting was designed to connect the inside of Livia's villa with the outside garden, Harry Adams’ display of paintings in the gallery establishes a locus amoenous in which to transpose their reflections on history and connect the past and present."
Click here to read the article on the Wall Street International magazine website.
"Billy Childish will collaborate in painting new homages to Larionov with Harry Adams and Edgeworth in a ‘studio approach’ to making the work.[...]
Through their individual and collaborative practices these artists honour the ideals which arose from the work and ideas proposed by the modernists and avant-garde movements of the early 20th century, making work which similarly defies the dominant trends, now that apparently radical forms have become passé."
Click here to read the full article on Russian Art & Culture website.
"The two artists, who met at art school in London, have worked on several different projects, ranging from music to cinema to photography, and now painting. They references William Blake who is frequently in their poetics. It is no coincidence that the title of the show comes from a 19th-century text written and illustrated by Blake in which the romantic spirit of painting emerges, not limited to reproducing reality, but rising towards a visionary sphere of man and nature."
Click here to read online on the Artlyst website.