Carris Adams: Get Over, Get Under, Get Easy, Get Greasy
319 N Albany Ave, Chicago, IL 60612
On view through Saturday, February 12th
Racial hierarchies, identities and power structures are embedded in the landscape. It is through the social practices of racism, sexism and classism that we produce markers by which we organize space. – Vanessa Lynn Lovelace, The Re-memory and Remembering of Nat Turner
Goldfinch is pleased to present our second solo exhibition with Carris Adams, “Get Over, Get Under, Get Easy, Get Greasy.” The exhibition is on view from January 9 – February 12, 2022.
Bright, dark, overloaded, subtracted–Carris Adams’ newest paintings explore color, legibility and movement. Unlike the artist’s previous works, these paintings take a larger step away from the source image and closer to embodying, collapsing, and affirming an alternate cosmology of space. The painting that references the signage of the Chez Bren’s Braids and Beads shop is situated as if next door to that of the High Times Headshop and across the street from the WIGWIGWIG beauty supply. Together the works point to multiple spaces, memories and realities.
In her second solo exhibition at the Gallery, “Get Over, Get Under, Get Easy, Get Greasy,” Adams exhibits eight new paintings on PVC panel inspired by pylon and neon signage. The paintings are a continuation of her formal and conceptual investigation into markers that reference the various social, cultural, political and economic circumstances under which we labor. Similarly to previous bodies of work, they grapple with commercial signage and how we advertise ourselves for ourselves and for the gaze of the other.
The gallery walls have been painted a darker color, meant to recall the night sky. Not black, not blue, not grey, but a mixture of all three. By removing the paintings from a white wall, Adams situates them at a different time of day, in the sky of an unknowable landscape.
Making reference to pylon signage — outdoor signs that are usually mounted on single or double poles — Adams stacks some of the paintings vertically and others side by side, off-center from the gallery walls, a move meant to further displace any hierarchical structuring of space.
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