2023, 12" x 8" x 5", Media: Stoneware, Firing Process: Electric, Mid-range, Surface: Glazed
2023, 7" x 4" x 5", Media: Stoneware, Firing Process: Electric, Mid-range, Surface: Engobe / Slip / Underglaze, Glazed
2020, 192” x 192” x 192”, Media: Earthenware / Terracotta, Mixed Media, Non-clay, Porcelain, Stoneware, Firing Process: Electric, Low-fire, Mid-range, Unfired, Surface: Engobe / Slip / Underglaze, Glazed, Non-ceramic, Unglazed
Each sculpture is playing audio and 4 out 6 are playing video in the mouth sections Visitors are invited to site in the center and be consumed by the cacophony of loud audio and video Videos are found clips on youtube and played in a slowed down version of Michael Jackson’s We are the World
2018, 96” x 120” x 168”, Media: Mixed Media, Non-clay, Porcelain, Firing Process: Electric, Mid-range, Other, Surface: Non-ceramic, Unglazed
Audio from the video(excerpt in next submission) is playing thru loud speakers embedded in the ceramic sculptures. Pink viscous substance slowly emanates out of the sculptures throughout the opening night and following days of the exhibition. Constantly moving viscous substance is meant to challenge a traditional reading of this installation. Image courtesy of Wick Gallery, Brooklyn. Full Video is 8:28 and is integrated into an installation. Appropriated spoken text and imagery is in the background of a sculptural ceramic container expelling waste which can be compared to the sculptures in the installation. Themes of longing, homesickness, and the sea are brought together in this collaged video display video clip can be found here: https://vimeo.com/299068053
2018, 26” x 10” x 10", Media: Mixed Media, Non-clay, Porcelain, Firing Process: Electric, Other, Unfired, Surface: Non-ceramic, Unglazed
pink polymer slowly oozes out of sculpture while video embedded in the sculpture loops. Full video length is 20 minutes. Layered in it is time lapse documentation of several ceramic sculptures oozing a substance over a 24-48 hour period. The white ceramic sculpture in the video is also the sculpture the video is embedded video clip can be found here: https://vimeo.com/263821343
2023, 40”x25”x25”, Media: Non-clay, Stoneware, Firing Process: Mid-range, Other, Oxidation, Unfired, Surface: Engobe / Slip / Underglaze, Glazed, Non-ceramic, Unglazed
Bring your faces close and close your eyes, letting the lights encompass you. Part euphoric hallucination and part cheap discotheque, Dreamachines are meant for NOW- a time when we are looking back to the past, consuming the present, and thinking of our precarious future. The pattern of the blinking lights produces alpha-waves in the brain- what leads to dreams and hallucinations. In the right environment people that do this will have a personal visionary experience, perhaps one of the future, that will not be fully describable. Documentation video of the Dreamachines can be found here: https://youtu.be/16BqfbboBa4
2023, 96” x 96” x 96”, Media: Non-clay, Stoneware, Firing Process: Electric, Other, Oxidation, Unfired, Surface: Engobe / Slip / Underglaze, Glazed, Non-ceramic, Unglazed
Current studio-based installation/ A 4’ sculpture is in front of dozens of drawings of sculptures that I plan to make out of clay. Similar in size to previous submission.
2023, election of ceramic sculptures, variable, average 9” x 5” x 5”,, Media: Stoneware, Firing Process: Electric, Mid-range, Surface: Engobe / Slip / Underglaze, Glazed, Overglaze Enameling, Unglazed
The current project I am working on exploring our current modes of convenience, inconvenience, technology, and work. All of these 50+ sculptures continue to be displayed in different installation settings
2023, 108”x28”x28”, 100”x25”x 25”, Media: Stoneware, Surface: Glazed, Lustre
2023, 108”x28”x28”, 100”x25”x 25”, Media: Stoneware, Firing Process: Mid-range, Reduction, Surface: Engobe / Slip / Underglaze, Glazed, Lustre, Unglazed
Artist Statement
My work merges craft traditions with unexpected modes of sculpture and installation. By approaching 3D art from different perspectives and using a variety of materials and techniques, I present visions of today and tomorrows’ internet dependent culture of convenience.
I borrow core strategies from the punk music I grew up with. The technical aspects of bands like the Ramones or Stooges are minimal and straightforward: a few simple guitar chords and unadorned drum patterns. But what is evoked in the feeling and attitude gives the music its lasting effect. Can anyone really do better than Iggy Pop, high on acid, smearing peanut butter and glitter on himself during a song in front of thousands of people? Within my artwork I try to reflect this attitude and style of Iggy and the other punks by reducing my work to the elemental which allows me greater focus for the energy I wish to evoke.
Bio
Adams Puryear is an interdisciplinary artist and educator based in Kansas City, Mo. His work explores the Internet’s convoluted information systems and tactile approaches of its representation. Adams holds an MFA from Indiana University, Bloomington and a BFA from the Massachusetts College of Art. Puryear’s work has been featured in and around New York City in solo and group exhibitions where he was formally based, nationally in galleries and museums such as the Nelson-Atkins in Kansas City, Mo and the Kennedy Museum in Athens, OH, and internationally at galleries such as Galerie Christine Mayer, Munich, GR, and museums like Icheon World Ceramic Center in South Korea. He is currently a lecturer at the Kansas City Art Institute.