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Llp to 20 u,ar/es su sbow M.an 22 - Ap.. I l, 20S7 Arcadia Gallerv 51 Greene Srreet lr]ew Yark, bJY 10013 \2r2) 961-1387
Ordered chaos rumpled paper, fabric and close-ups of u'ater are the that Daniel Adel uses to bridge the gap he sees bets.cen traditional art and contemporar\r concerns, betr.r,een classical paintine techr.riques and his admilation for sub jccts
Adel cherishes the complexities and contrasts rvorking rvithin these nerv imases, includir.rg those invoh'ing light and dark,
figure and grourld, gcometric and organic ar-rd order and chaos. For him, a painting is onlv successful if it is able to push these oppositions.
"There is obviouslv a hieh degree of abstraction and reductior-r in mv approach to reprcsentation," sa1's Adel. "This is perhaps a consequence of having m)'ser.rsibilities formed in a
these pair.rtir-rgs, the objccts functior.r as objects but
are presented as
still lifes and rvhcn you get a u'hite object on
black background. tl.rev fall
benveen established categories,
period of transitior.r fron.r the N'loderr-r to the Classical. There are val-rable lessorts to be l.',rrned from the experiment of non-
between contemporart ar-rd traditional rvork," sa1's Adel. "I love art historl, too much to do straight contemporary pieccs and I
think you need a bai,rnce benveen the nvo."
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Gallery Sdys " ,
"Daniel Adel's oil paintings are unique in that they appeal to the widest array of collectors. The subject matter; crumpled pieces of paper, splashes of water and swirls of fabric are at once, hyper-realistic and abstract at the same time. While the works are certainly contempo,aryt they also take on a classic, timeless quality as there is no indication of a specific time or place. And while the objects themselves are inanimate, Adel is able to imbue this extraordinary'life
Diontttnt, Ou,ncr, Arct'tdia Gallcry
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And this is what connects these seemingll.simple paintings to more abstract theories, like ideas of chaos, and binary oppositions. "I was attracted, in general, bv turbulence," says Adel. "The idea of chaos in a controlled subject matter. A still life painting is usually so controlled and there is alrvays a sense of order in everything I do, so I was curious as to what happens
when you take a disorderly subject and set
systematic approach to painting." Another theme that Adel deals rvith in all three of these types of paintings is the idea of value. Typicall1., a material like paper is seen as something with little value. But, by placing paper on a pedestai and then turning it into the subject matter for a classically rendered oil painting that has a value tied to it, some of those traditional ideas start getting questioned. "It's like r.vhat I u,as reading about Bach and other classical
musicians and how they rvould take a sequence of notes, not music yet, and then by applying rigorous laws of counterpart, they can create something so magnificent as a fugue," says Ade1. 'And I used to think, 'Horv would a painter do that, how can a painter create something out of nothing.' And a sheet of paper represents nothing, an absence, and through the
discipline of paintine, it gets transformed into art." \Vhile Adel has been painting the paper and fabric pieces since the late 80s, he has only recently been painting the images of water. "Vhat it realll, sho'nvs is water in a turbulent state," says Adel. ''Thev are ver)r dynamic images of water, not placid or still and in that rva1. they are related to the paper pieces. There is a lot going on r.isually with these, very dense and visually more complex. I'r'e found that I've aiways been drarvn to complex, dense surfaces."O
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