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Crushed: Hanging on the studio wall.
Crushed: Hanging on the studio wall.
Crushed: Hanging on the studio wall.
Crushed: Hanging on the studio wall.
Crushed: Hanging on the studio wall.
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CRUSHED Collage

Adam R Grose MA RWAAN

United Kingdom

Collage, Metal on Aluminium

Size: 9.8 W x 11.8 H x 0.1 D in

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284 Views
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About The Artwork

This mixed media work was created during President Trump's inauguration on the 20th January 2017. This work explored channelling the energy of the event whilst making this work, exploring the combination of watching and listening to the event whilst putting various pieces together, using found objects collected during walks in the urban landscape and using objects in my studio. The painting/ sculpture uses a recognisable object from the corporate world and an icon of the last 100 years embedded with all its loaded meanings associated with the cocaine trade in the past, the rise of an object representing the dominance of American culture since after WW2 and the feeling some felt on the day of TPOTUS' inauguration, both as a representation of American business, corporate identity and the crushed feeling some felt due to President Trump winning the position of the president. The crushed can of Coca Cola is flattened by a car, found on the side of the road, representing the rise of the automobile industry, manufacturing and the reach of globalisation and the consequences of this evolving reality. The can is placed on top of an oil board that had a painting of a homeless person, representing the price of the markets, artex laid on top representing the building industry and the current 'lack' of housing, and the dominance of American culture and industry around the world. There is also a covert idea on the alleged 'Iran-Contra' polemical exploration on the selling of cocaine via the CIA in the 1980s. A conceptual piece loaded with many meanings with many interpretations

Details & Dimensions

Collage:Metal on Aluminium

Original:One-of-a-kind Artwork

Size:9.8 W x 11.8 H x 0.1 D in

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My work currently explores fragility through layering and entropy. It responds to history, memory, the landscape and the human condition. These semi-abstract glimpses are drawn from observation when travelling, gathering images through sketching, photography and my memory. Paintings are layered over time as expressive moments of colour, line, print, masking, text, scrawled marks and memory. These form multi-layered paintings that are sanded back, revealing sections from the previous layers, now interacting with one another as a memorialised glimpsed journey. These journeys are inspired by research I’ve pursued from 2013-16. When attending residencies in Cyprus and Spain, I began re-exploring my relationship with the landscape; local and national histories; mythology; geology; pigments; various visiting cultures, their religions, and entropy. These ideas eventually lead to an interest in the effects of imperialism (2017), slavery (2018), lost generations (2019), the suffragette and civil rights movements (2020—21), other obscured histories and the culturally ignored (2022-present). Many aspects of these intersect and juxtapose with one another within my work, expressing memorial observations of history and landscape. These seek to enable an opportunity to investigate and explore previously obscured histories, through this form of landscape painting. ​ *********************** Adam has travelled around the world delivering workshops and attending residencies in India, Mexico, Spain and Cyprus. His work exists in many collections around the world including Taiwan, Australia, USA, UK, France, Monaco, Italy, Czech Republic, Germany and includes commissioned work for the Malaca Instituto in Malaga and The World Reimagined with the globe titled 'Legacy: Echoes in the Present'. Grose runs a variety of workshops based on painting and printmaking, grounded in drawing skills and observation. He is a committee member of Go Create, an Artist Network member of the Royal West of England Academy in Bristol and a member of Axisweb.

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