Images | About
Drawing on influences as varied as the nostalgic aesthetic of 1950′s B-movies, science fiction, communist propaganda and religious symbolism, Adam Dix imagines a parallel existence where communication technology is revered. Here the original functions of the phone mast and satellite dish are forgotten; they now appear as remnants of a bygone era, recorded in layer upon layer of oil and ink, devoid of their technological capacity, carried in processions, bowed to in ritual, and worshipped. The community is united in a collective function of social exchange through the conduit of a shaman character who harnesses their faith. The painting process and colour palette refer to 1950s lithographic printing techniques ushered in as the Cold War brought about an explosion in communication technology. Whilst many coats of colour wash and varnish are carefully built up, the economy of marks and resonating outlines echo an ancient television set giving the glowing impression of an image through pastel colours and monochrome.
Adam Dix is a graduate of Wimbledon College of Art. Exhibitions include On the Horizon: New Generation British Painters, Marine Contemporary, Los Angeles (2012), Fratenise, Beaconsfield, London (2011), Exam, Transition Gallery, London (2011), Catlin Art Prize, The Tramshed, London (2011), Unobtrusive Measures, Schwartz Gallery, London (2011), Transmission, Haunch of Venison, London (2011), Keep Me Posted (curated by Julia Royse), Posted Projects, London, Future Map, 20 Hoxton Square, London (2009), Black Dog Yellow House, Trolley Gallery, London (2009), Creekside Open (Jenni Lomax), APT Gallery, London (2009) and the Jerwood Drawing Prize, London (2007).