ADAM NORTON
NEW WORKS
29 JULY – 22 AUG 2015

ADAM NORTON
Modernist Spaceship 2015
pigment ink on card
Edition of 3 + 1 AP
10 × 15 cm (framed)

ADAM NORTON
Earth Rocket 2015
pigment ink on paper
Edition of 3 + 1 AP
15 × 10 cm (framed)

ADAM NORTON
Ultra Violet 2015
synthetic polymer and pigment ink on canvas
174 × 120 cm

ADAM NORTON
Modernist Spaceship 2015
pigment ink on card
Edition of 3 + 1 AP
10 × 15 cm (framed)

ADAM NORTON
Steampunk Spaceship 2015
pigment ink on card
Edition of 3 + 1 AP
15 × 10 cm (framed)

ADAM NORTON
Swan Spaceship 2015
pigment ink on card
Edition of 3 + 1 AP
10 × 15 cm (framed)

ADAM NORTON
USAF Flying Saucer 2015
pigment ink on card
Edition of 3 + 1 AP
10 × 15 cm (framed)

 

ADAM NORTON
Spaceship Over Japan 2015
pigment ink on card
Edition of 3 + 1 AP
15 × 10 cm (framed)

ADAM NORTON
Ice Borg 2015
pigment ink on card
Edition of 3 + 1 AP
15 × 10 cm (framed)

ADAM NORTON
Silver Ball 2015
pigment ink on card
Edition of 3 + 1 AP
16 × 10 cm (framed)

ADAM NORTON
The Bridge 2015
synthetic polymer and pigment ink on canvas
91 × 137 cm

ADAM NORTON
Modernist Spaceship 2015
pigment ink on card
Edition of 3 + 1 AP
10 × 15 cm (framed)

ADAM NORTON
Chart of UFO Shapes 2015
synthetic polymer and pigment ink on canvas
183 × 102 cm

ADAM NORTON
TV Tower Blob 2015
synthetic polymer and pigment ink on canvas
122 × 91 cm

ADAM NORTON
New New York 2015
synthetic polymer and pigment ink on canvas
167 × 107 cm

ADAM NORTON
Bug Eyed Alien 2015
pigment ink on paper
Edition of 3 + 1 AP
15 × 10 cm (framed)

ADAM NORTON
Car Park Meteor 2015
synthetic polymer and pigment ink on canvas
91 × 140 cm

ADAM NORTON
Valles Marineris 2015
synthetic polymer and pigment ink on canvas
166 × 112 cm

ADAM NORTON
Night & Day 2015
synthetic polymer and pigment ink on canvas
137 × 91 cm

ADAM NORTON
USAF Flying Saucer 2015
pigment ink on card
Edition of 3 + 1 AP
10 × 15 cm (framed)


As a dyslexic kid I remember learning to read from the billboards viewed out of the back seat of my parents’ car with a comic book spread over my knees. The first clues to the meaning of words were gleaned by first ‘reading’ the image and then attaching that meaning to the shape of the letters.
This interest in the relationship to the meaning of imagery possibly made me into an artist and has continued to have a profound impact on my art practice. Recent projects have included works based on signposts, book covers, film posters and film stills. Taken together they are pictorial attempts to present the essential understanding in those found images we all see around us.
These ‘New Works’ are based mainly on postcards and other found images in brochures and manuals from my collection of pictorial ephemera. All images come from the earliest days of half-tone colour mass reproduction, between the start of the sixties and the late seventies.
The works are put together from parts of images of Brutalist architecture, factories, bridges, dams, of rocket tests and space science, but make up a newer reading of strange new worlds, extra terrestrial visitations and intergalactic travel.
Initially, I scanned the images and used Photoshop to manipulate a certain strangeness into the images by simple acts of combining or cropping or flipping the images, whilst trying to retain the essential feel of the dog-eared original. These Photoshopped postcards directly resulted in the set of 12 prints, ‘12 Postcards’.
In the works on canvas, the printed sections are massively enlarged from the original postcards or images, revealing their dot matrix structure as well as any rips, tears and glitches they have picked up since they were made. Whilst the painted sections have been produced in slick, lush vinyl paint, this has created a slight visual disconnect between the different methods of production and the different elements of the work. The two aspects of the image manufactured sit together in an uneasy alliance, making up a new third image which offers clues to more esoteric meanings.
These works are an attempt to keep the viewer in that ‘snap’ or instant when the brain comprehends the image in front of their eyes. This could be described as cognitive dissonance, or pictorial ‘slipstream’ both terms borrowed from the cyberpunk literary movement.


~ Adam Norton, 2015