We are pleased to announce that Adam has been selected for the Redlands Westpac Art Prize and the Rick Amor Drawing Prize for 2010.
Artists participating in the Redlands Prize are shown in two sections, the first being a group of established and significant Australian or New Zealand artists selected by curator Lindy Lee. These selected artists are then invited to nominate one "emerging" artist each to partipate in the prize. Selected Melbourne painter Jon Cattapan nominated Adam for the emerging section this year. The Prize will be on show at Mossman Art Gallery in Sydney from November 19th to 29th, 2010.
Adam has also been selected as a finalist in the inaugural Rick Amor Drawing Prize for small drawings on paper. This will be on show at the Art Gallery of Ballarat from September 25th to November 7th, 2010.
Tuesday, August 24, 2010
Tuesday, March 16, 2010
Adam Lee Shortlisted for the 2010 Sulman Prize
We're pleased to announce that Adam has been shortlisted for this year's Sulman Prize at the Art Gallery of New South Wales for his painting Our Pregnant Condition (Lacuna), pictured below. This is the second time Adam has been shortlisted for the prize. The work will be on show at the gallery, along with the Archibald and Wynne prizes, from March 27th to May 30th, 2010. Announcements of winners with take place on March 26th and all details of the prize including a list of shortlisted artists and works can be see at the Archibald Prize website.
Adam Lee
Our Pregnant Condition (Lacuna)
Oil on canvas, 230cm x 180cm
2010
copyright Adam Lee 2010
Adam Lee
Our Pregnant Condition (Lacuna)
Oil on canvas, 230cm x 180cm
2010
copyright Adam Lee 2010
Friday, April 17, 2009
Art Melbourne 09 - Off the Wall, new watercolours
Adam Lee
Guardians 1
watercolour, ink and coffee on 400gsm hand made French cotton
43cm x 56cm
2009
copyright Adam Lee 2009
Adam Lee
Florentia (Renaissance)
Watercolour, ink and coffee on 400gsm hand made French cotton paper
43cm x 56cm
2009
copyright Adam Lee 2009
Adam Lee
Guardians 2
Watercolour, ink and coffee on 400gsm hand made French cotton paper
2009
copyright Adam Lee 2009
Adam Lee
Echad (After the Wedding)
Watercolour, ink and coffee on 400gsm hand made French cotton paper
48cm x 52cm
2009
copyright Adam Lee 2009
Adam Lee
Trinity (Father)
Watercolour, ink and coffee on 400gsm hand made French cotton paper
2009
copyright Adam Lee 2009
Monday, March 23, 2009
Off the Wall - Art Melbourne 09
Adam has been selected to be a part of Off the Wall, a showcase of emerging Australian artist at Art Melbourne 09, in April. A selection of his new paintings and watercolours will be included and the show will run between April 16th-19th at the Royal Exhibition Buildings in Melbourne. Click here to see the shortlist of artists for Art Melbourne 09 Off the Wall.
Thursday, March 5, 2009
Peniel: marking the places we've been
New Paintings by Adam Lee
Feb 11th - 28th 2009
red gallery,
157 St Georges Rd,
Fitzroy North, Melbourne
http://www.redgallery.com.au/
Sensing Eternity (Heritage)
Synthetic polymer paint, watercolor and oil on canvas
155cm x 212cm
2007
copyright Adam Lee 2007
This exhibition explores the act of retracing a personal history. It examines the nature of encounters with loss and grief, while reaffirming our search for belonging. The exhibition takes its title from the Hebrew word Peniel, meaning “face of God”, found in the Old Testament account of the Jewish patriarch, Jacob, who wrestled with an angel (or God). Having struggled all night, the angel touched Jacob’s hip and jolted it out of place. From that day on Jacob walked with a limp and was renamed ‘Israel’, forever marked and changed by his encounter.
In these works Peniel becomes a place of wrestling with the things of this life. The external ‘places’ we associate with moments of significance in our lives, as well as the internal struggles with grief, loss and our innate brokenness become a part of our searching to belong, our search to understand who we are and ultimately the discovery that we are forever changed or ‘marked’ by the places we’ve been.
Each of the paintings take their beginning in personal images from the artist’s own family slides and photographs. In this sense the works enact a kind of ‘re-tracing’ not only of the artist’s own family history, attempting to understand those who have gone before him, but also the exploration of a more universal heritage existing in humanity, with wider implications for understanding a collective sense of belonging and struggle, intrinsic to the human condition. This is reflected through the artist’s ongoing exploration into ideas of the spiritual dimension of the human condition, apparent through the reoccurring theme of ‘echad’, another Hebrew word literally meaning unity or ‘oneness’ made up of multiple parts. Echad is used in the Biblical story as a description of both the nature of a marriage covenant as well as the character of God. This suggests the possibilities of a spiritual connectedness existing within humanity, present in the ways we perceive our own identity, the ways in which we relate and connect with others, as well as our connectedness with a Creator/God. The idea of echad stands almost in contrast to the concept of Peniel, suggesting the possibilities of a connectedness or a unity existing within a world of broken or shattered lives.
Each of these paintings, in their own way, is a marking or remembering of the places, moments and encounters, which have marked us or changed us forever and ultimately hold significant sway in forming our idea of who we are and our place in relation to the world around us.
Peniel (Remembering)
Synthetic polymer paint, watercolor and oil on canvas
155cm x 212cm
2008
copyright Adam Lee 2008
Feb 11th - 28th 2009
red gallery,
157 St Georges Rd,
Fitzroy North, Melbourne
http://www.redgallery.com.au/
Sensing Eternity (Heritage)
Synthetic polymer paint, watercolor and oil on canvas
155cm x 212cm
2007
copyright Adam Lee 2007
This exhibition explores the act of retracing a personal history. It examines the nature of encounters with loss and grief, while reaffirming our search for belonging. The exhibition takes its title from the Hebrew word Peniel, meaning “face of God”, found in the Old Testament account of the Jewish patriarch, Jacob, who wrestled with an angel (or God). Having struggled all night, the angel touched Jacob’s hip and jolted it out of place. From that day on Jacob walked with a limp and was renamed ‘Israel’, forever marked and changed by his encounter.
In these works Peniel becomes a place of wrestling with the things of this life. The external ‘places’ we associate with moments of significance in our lives, as well as the internal struggles with grief, loss and our innate brokenness become a part of our searching to belong, our search to understand who we are and ultimately the discovery that we are forever changed or ‘marked’ by the places we’ve been.
Each of the paintings take their beginning in personal images from the artist’s own family slides and photographs. In this sense the works enact a kind of ‘re-tracing’ not only of the artist’s own family history, attempting to understand those who have gone before him, but also the exploration of a more universal heritage existing in humanity, with wider implications for understanding a collective sense of belonging and struggle, intrinsic to the human condition. This is reflected through the artist’s ongoing exploration into ideas of the spiritual dimension of the human condition, apparent through the reoccurring theme of ‘echad’, another Hebrew word literally meaning unity or ‘oneness’ made up of multiple parts. Echad is used in the Biblical story as a description of both the nature of a marriage covenant as well as the character of God. This suggests the possibilities of a spiritual connectedness existing within humanity, present in the ways we perceive our own identity, the ways in which we relate and connect with others, as well as our connectedness with a Creator/God. The idea of echad stands almost in contrast to the concept of Peniel, suggesting the possibilities of a connectedness or a unity existing within a world of broken or shattered lives.
Each of these paintings, in their own way, is a marking or remembering of the places, moments and encounters, which have marked us or changed us forever and ultimately hold significant sway in forming our idea of who we are and our place in relation to the world around us.
Peniel (Remembering)
Synthetic polymer paint, watercolor and oil on canvas
155cm x 212cm
2008
copyright Adam Lee 2008
Honeymoon
Synthetic polymer paint, watercolour and oil on canvas
110cm x 160cm
2009
copyright Adam Lee 2009
On That Helpful Shore
synthetic polymer paint on canvas
165cm x 116cm
2009
copyright Adam Lee 2009
Echad 1
Watercolor, ink and coffee on 650gsm Arches paper
105cm x 120cm
2008
copyright Adam Lee 2008
Echad 2
Watercolour, ink and coffee on 640gsm Arches paper
105cm x 120cm
2009
copyright Adam Lee 2009
Patriarchs
Watercolour, ink and coffee on handmade French cotton paper
25cm x 18cm
2009
copyright Adam Lee 2009
On My Father's Shoulders
Watercolour, ink and coffee on handmade French cotton paper
12cm x 15cm
2009
copyright Adam Lee 2009
My Father was a Wandering Aramean (Mr. and Mrs. Lyall)
Watercolor on handmade French cotton paper
25cm x 18cm
2008
copyright Adam Lee 2008
Christian Education
Watercolour, ink and coffee on handmade French cotton paper
25cm x 18cm
2009
copyright Adam Lee 2009
Peniel (Kingdom Come)
Watercolour, ink and coffee on handmade French cotton paper
25cm x 18cm
2009
copyright Adam Lee 2009
Echad (29th Battalion)
Watercolour, ink and coffee on handmade French cotton paper
18cm x 25cm
2009
copyright Adam Lee 2009
My Father was a Wandering Aramean (The Lyalls) No.2
My Father was a Wandering Aramean (The Lyalls) No.2
Watercolour, ink and coffee on handmade French cotton paper
18cm x25cm
2009
copyright Adam Lee 2009
On That Helpful Shore (Light)
Watercolor, ink and coffee on handmade French cotton paper
2009
copyright Adam Lee 2009
On That Helpful Shore (Dark)
Watercolour, ink and coffee on handmade French cotton paper
18cm x 25cm
2009
copyright Adam Lee 2009
Peniel (Yosmite/Face of God) - in progress
Synthetic polymer paint, watercolor and oil on canvas
150cm x 200cm
2009
copyright Adam Lee 2009
Marking the Places We've Been (On the Edge of the World)
Synthetic polymer paint on canvas
112cm x 156cm
2009
copyright Adam Lee 2009
The artist and Harper Lee
Studio image, 2009
Adam in studio, 2009
Tabernacle
Watercolor on handmade French cotton paper
25cm x 18cm
2008
copyright Adam Lee 2008
Patriachs
Watercolor on handmade French cotton paper
25cm x 18cm
2008
copyright Adam Lee 2009
Watercolor on handmade French cotton paper
25cm x 18cm
2008
copyright Adam Lee 2009
Marking the Places We've Been (On the Edge of the World)
Watercolor on handmade French cotton paper
25cm x 18cm
2009
copyright Adam Lee 2009
Watercolor on handmade French cotton paper
25cm x 18cm
2009
copyright Adam Lee 2009
Monday, June 9, 2008
Cataracts, Jesus and the Issue of Faith - The JesusWalks Art Initiative
Jesus Walks Art Initiative is an exhibition running during World Youth Day in Sydney, July 2008. This show involves 33 artists selected from around Australia, who have been invited to each paint a statue of Jesus exploring ideas of faith. These will be shown throughout the city in various public spaces throughout the week of the event. Below are some images of my piece. More images to come soon.
http://www.jesuswalksart.com/
The work I have contributed looks at the issue of sight. The surface of Christ's body is covered with the faces of children with cataracts.
A cataract, although easily treatable, will often go untreated in many parts of the Third World due to extreme conditions of poverty. A cataract eventually causes blindness.
I wondered about the broader significance, if any, of such a small thing, slowly working away at one's ability to view the world around them, to be mobile, to work, to survive, to live. In the world in which I occupy, far from the extremes of such poverty, have we left any room for something like faith? What things, ever such small things, sit, slowly obscurring our sight? Or, unknowingly, do we put our faith in all sorts of things, every single day?
Cataracts, Jesus and the issue of faith.
All Images synthetic polymer paint on fibre glass statue
1.2m high
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