LISA ADAMS / PATRICK NICKELL opens at the Pierce College Art Gallery on March 26, 2009. The exhibition will kick off with an artist’s talk by Lisa Adams at 6 PM in Art 3300 at Pierce College, followed by a reception for the artists in the gallery from 7 – 9 PM.
The exhibition will run through April 30th. Gallery hours are T – Th, 2-7 PM or by appointment. For further information, call the art department at 818.719.6475.
Lisa Adams is a painter and public artist who lives and works in Los Angeles, California. She graduated with a B.A. in Painting from Scripps College in Claremont, California and received her M.F.A. from the Claremont Graduate University.
Adams is the recipient of a Fulbright Professional Scholar Award, a Brody Arts Fund Fellowship and a Durfee ARC Grant. Her work is in the collections of Eli Broad, The Frederick Weisman Museum and the Laguna Museum of Art. She has taught in several art departments throughout the Los Angeles area and abroad, including the University of Southern California, the Claremont Graduate University and Otis College of Art & Design in Los Angeles.
In addition to her practice as an artist, Adams works as an independent curator, who in 2000, co-founded Crazy Space, an alternative exhibition space, in Santa Monica. She is also the author of “FM*,” (Peeps Island Press, 1999) a How To book about painting, based on her teachings at the Santa Monica College of Design, Art and Architecture between 1997-1999.
Lisa Adams has been an artist-in-residence in Slovenia, Finland, Japan, Holland and Costa Rica. Her work has been exhibited nationally and internationally. She was also commission by BMW of North America to paint an ArtCar. She has been included in “A Day in the Life of the American Woman, “ Bullfinch Press, 2005, and is currently working on a public art commission for the new Fire Station No. 64 in Watts.
Adams writes about her work:
The images that appear and reappear in my work stem from a desire to suffuse sources of inchoate matter – the formal elements, the grist of art – with a deeply felt, psychologically- charged world-view, which in turn allows my personal integrity to merge with larger, more universal concerns, cathartic to me, accessible to the viewer.
In my most recent work, I create a negotiated reality forged from the world of the imagined—images of a Ground Zero (rather than Edenic) natural world with urban artifacts--to create a largely graffiti-free netherworld, animated by a tension between the unexpect¬ed and the predictable. By creating a “safe” space for myself in which to imagine, I offer the viewer an opportunity for Koan-like contemplation, a moment not Here nor There but somewhere In-Between.
Patrick Nickell was born in Van Nuys, California and after earning his B.A. at Linfield College in Oregon, he returned to California to study at Claremont Graduate University for his M.F.A.
Since then, Nickell has been featured in numerous solo and group exhibitions throughout Southern California. He is represented by Rosamund Felson in Santa Monica. Nickell’s work has been extensively written about by critics, who have been struck by the simple materials of his craft and simultaneously awed by the subtle monumentality of his sculpture.
In an excerpt from Julia Joyce’s review of Nickell’s exhibition at California State University Los Angeles’ Luckman Gallery:
One may not have noticed the Home Depot aesthetic of Patrick Nickell’s sculpture in the very beginning, because what counterbalanced these humble materials was the brilliant form of the work itself. But this aesthetic, which became so important particularly in the late 1990s, is part of what has made this work so influential to a generous number of contemporary sculptors working today in Los Angeles and elsewhere in America and Europe.
Evidenced from his first exhibitions to the present, the materials Patrick Nickell uses to make his art may be simple, but the sculptures themselves are complex. Nickell understands the transformative nature of art and materials like the back of his hand. He knows that it is not just enough to put out a bunch of “stuff” and hope that it ends up being “art.” He also understands abstraction in a way few sculptors, much less painters, understand this idea today. By supplanting his earlier spur-of-the-moment, D.I.Y. aesthetic with mature sophistication in the recent work, Nickel has proved not only how skillful he is, but how cunning, as his work continues to navigate the complexities of history, metaphor, physicality, and emotion. Nickell is obviously at ease with the making part of art, and his work maintains that the matter of life can become something that in the end is quite sublime.