by Dores Sacquegna
Analyzing the recent artworks (2005 to present) of Adam A, at first impact the attention catalyzes on the titles.
Words like: substance, fecundity, life, heart, comparison, being, loyal contact, humanities, and world, are some of the many titles that raise questions and paradoxes, in reference to mankind, nature, and to the substance that moulds and gives structure the world, ecological matters (see The Ecologist, 2005), existentialism, (see Alla Ricerca di Te 2004) and to the absolute sense of the Universe (see Concept You Would Hold, 2005).
I think of Galimberti and recall his "nomadic words" that narrate the human condition, behavioural ethics, lifes challenges, and difficulties in the relationship with others and with oneself. I think of Adam A and the abrasive, and yet at the same time delicate, way she taps into numerous different worldwide cultural themes, from this style emerges linguistic semantics completely free from the contemporary realistic representation, however hesitant to celebrate the crazy path of the world and it's mechanisms.
With a graphical and pictorial mark that recalls the abstractionism of the internationally historic avantguard, Adam A, adds a new visual simulacra: the verb, a seductive language
that involves human perspectives, putting in crisis the pre-established structures of communication. What is important, in my opinion, is the dialectic between significance
and meaning, between sender and receiver of the message, between real and imaginary, truth and virtual. Indeed today man lives in a society dominated by a new existential dimension: the virtual. Our idea of truth is based on our sensory perceptions; but when we distance ourselves on a personal level to gain advantages on social or cosmological levels, the representation of reality, becomes abstract, distant, virtual.
From platonic idealism to social realism, science has made great leaps, in the field of literature, art, technique, in all those sciences that are interested in biomedicine, biophysics, bioethics, biopolitics, artificial intelligence, virtual atmospheres, etc. The globalization, in its extreme effects, has forced cultures to become deeply autistic, with a natural homology of body and thought, but also to a medio-psychological degeneration that touches not only language, but all those elements that have transformed the individual into a planetary subject and the world into a global village.
In her melting pot vision, Adam A - with her painting, represent fears, illusions, utopias, and veterans, from a confused world; one where social meaning and technological progress transform life.
The meaning embodied by every sign, symbol, and trace of colour, contains information, expectations, simulations. It is well-known that communication is the body of knowledge,; it is the union of the understandings, pulsations, desires, behaviours, and the disciplinary devices that control the social body with a mechanism of sublime power.
The artworks "Microgioco, 2004 and Il Gioco, 2005" correspond to the interface between individual and machine, between Cyberculture and StorySpace. In the artwork "Heart, 2004", the artist represents the "sensory organ-machine" where the affects-effects, the relations, and the social and daily behaviours are articulated. The heart is the region of the psychical prana (the thin layers of the being, in the induist religion), it is the gear that unhinges the techniques of individualization of power, emotions, the will and love towards humankind.
Whereas in the artwork entitled "World, 2004", she uses the metaphor of the visual communication tied to the body-world concept in order to describe the transformation of our collective imaginary: a door, a maze, a pseudo geographical map as an access to the unknown. Body and place, are the phenomenological characteristics that link us to daily life. Inside Adam A's reflection, we find considerations that open up to an alarming perspective: the artworks "Giusta Prova, 2005" and "Fecondazione, 2005," manifest a future reaction of our anthropological and sociological destiny, characterized by ambiguous fusion between the way we live in " the act" and the way in which we will live in " power".
In her artworks emerges a "cut and paste" type of memorableness, where the "substance", the material and the form predispose the reality and concept of unity, which inexorably tends to dissolve itself.
When the verbal language becomes visual, it actives a "confrontation", an outline that places on one side those that manage life antagonistically and with self-criticism, and on the other side, those that are perfectly conformed in relational devices dominated by power and homologation.
The artworks by Adam A, are based mainly on philosophical concepts of Cartesian memory, between paradigms and metaphorical truth, on the dichotomy that exists between inclusion-exclusion in the collective conglomerate between the individual and the world, in the utopia of being able to contribute in her own way to communicative and social change.