That was actually quite fun!

gAdams-SAM_0021-Somniloquence, 48 x 72 inches, acrylic & mixed media on panel

Last night was the opening reception for “What Lies Beneath,” a two-person show featuring me and artist Kim Gentile. As an introvert, I have to say that as a general rule, standing around for a couple of hours talking to people is not my first choice of entertainment.  But last night was great; several friends I’ve not seen in a good long while showed up for it, and lots of people were very interested and asked me about the work. I have been making these long enough now that I’m quite comfortable talking about my process and inspirations, and no longer get that deer-in-the-headlights feeling that used to wash over me when someone would ask me about my work.

I got to meet Kim Gentile, the artist who painted these beautiful, lyrical abstract oils. I love her color sense and the balance between freedom and structure she achieves in her paintings. Go see some better photos of her work here.


And, icing on the cake – one piece has already sold! I’m so grateful to Point Gallery for giving me this opportunity!

Posted in Exhibitions Tagged , |

Sometimes things have a way of falling into place

Image: Informal Analogy, 48 x 48 inches, acrylic and mixed media on panel, ©Deidre Adams

It’s been so long since I’ve written a blog post, I’ve almost forgotten how to do it. With all the other things we as artists must do to keep our work in front of people, like posting on Facebook and sending newsletters, and so on and so forth, it sort of feels to me like everyone already knows what’s going on in my world, and I don’t want to make it all about ME, ME, ME all the time! But if ever there was a good reason to do a blog post, I have one at this very moment, and it is: Hey, everybody, I have a gallery now! And a two-person show with artist Kim Gentile, opening on April 3.

After a long and rather less than optimal experience in this realm, the details with which I shall not bore you, the reversal in my fortunes was unexpected and swift. If you would like to know how I accomplished this, I would have to say I’m certainly no expert. The ways and motivations of gallery owners are variable and mysterious. But I will say this: Having a good inventory of finished work ready to go is unquestionably a strong factor in one’s favor. Having a complete physical portfolio with images, bio, resumé, and price list ready to go at a moment’s notice is also critical. The time between when I had the first phone conversation to the actual time of the meeting would not have been long enough to pull all of this together. It also helped that I had visited this gallery many times and had a friendly relationship with the curators, so asking them if they would take a look at my work wasn’t nearly as daunting a prospect as a total cold call would have been.

So yay, that’s it, then. I hope all of my Denver-area friends can make it to the exhibition. Details:

What Lies Beneath
Deidre Adams & Kim Gentile

April 3-25, 2015
Artist reception April 3, 6-9 pm

Point Gallery
765 Santa Fe Dr.
Denver, Colorado


A few other things did happen between last September and now: A book cover, art going to the U.S. Embassy in  Albania, a show or two, and other good stuff.

My studio newsletter has all the details.  If you’d like to sign up for future editions (they aren’t terribly frequent, so no worries of me overloading your inbox), there’s a form at the right.

Posted in Exhibitions Tagged , , |

Random stuff I saw in NYC – part III

More from Chelsea galleries …


Deborah Zlotsky: It happened, but not to you
Kathryn Markel Fine Arts, 529 W. 20th St., New York

I loved these bold geometric paintings with their strange, ambiguous perspective. The artist keeps them from looking too pretty or perfect with deliberate application of drips, blobs and splotches. I like the fact that she varies her bright, demanding color schemes with one or two that have a quieter feel. Her artist’s statement:

“It happened, but not to you” fuses the ambiguity of what has happened with imagining what might happen: navigating the rich interstices between the past, the present and the future.  When I begin a work, I start with something both incidental and familiar — a few colors or shapes, a memory of a tangled pile of laundry or the movement of sunlight through my grandmother’s apartment. Responding to relationships and discovering unanticipated proximities fuel my actions: correcting, repairing, adjusting, and connecting parts in a responsive process of accumulation and revision. Accidents repeatedly redirect me, blurring my understanding of the differences between accident and intention, memory and history. The rhythm of my process is to continually rupture the interactions between the forms until the work reveals this oscillation and a unique situation emerges. I think of my paintings as chronotopes or palimpsests, conflating time and space within the compression of the canvas. Such confusion is an ordinary, human experience, especially when memories surface and coincide with the unfolding present. Eventually, the mutability of things slipping out of balance creates anomalies in the structures. These shifts and accumulations become a way for me to respond to the necessity of change, and the beauty and complexity of living. As I work, my process both brings me closer to and gives me distance from the friction between intention and coincidence, subtle forces that cause things to happen, which, in turn, shape my understanding of being in the world.

You can see an electronic catalog of Zlotsky’s exhibition here.

Adams-Chelsea2-02Deborah Zlotsky, Sonetto, 48 x 48 inches, oil on canvas
Adams-Chelsea2-03Deborah Zlotsky, A Tricky Subject, 48 x 48 inches, oil on canvas
Adams-Chelsea2-04Deborah Zlotsky, A Tricky Subject, detail


Deborah Butterfield: New Sculpture
Danese / Corey, 511 W. 22nd St., New York

Deborah Butterfield has been making sculptures of horses since the 1970s. Her earliest creations were made using mud, clay and sticks, before she moved on to using scrap metal in 1979. These life-size sculptures look very much like wood, but they are actually cast bronze. She carefully, intuitively, selects the branches and sticks which are used to ‘draw’ her horses. The lines of the branches do not simply outline the forms of horses, they create contours through an accumulation of simple or energetic lines that seem to build up from within. This is three-dimensional gesture drawing, and the result is both skeletal and muscular. These models or ‘ghosts’ (as the artist refers to them) are then cast, burning the wood away with molten bronze, creating one, unique sculpture to which she then methodically, expertly applies her patina (from the gallery press release).” 

Adams-Chelsea2-05Foreground: Deborah Butterfield, Whitebark, 86.75 x 108 x 25 inches, unique cast bronze with patina


Adams-Chelsea2-06Deborah Butterfield, Silver Star, 89 x 112 x 46 inches, unique cast bronze with patina


Adams-Chelsea2-07Deborah Butterfield, Otter, 91.25 x 117 x 33 inches, unique cast bronze with patina

Mary Ellen Bartley: Paperbacks
Yancey Richardson, 525 W. 22nd St., New York

Adams-Chelsea2-08Mary Ellen Bartley, Untitled 56


Random things of interest


Posted in Art