Stay On Painting

b. 1971 Toronto, Canada"Adamson is a terrific colourist and knows extraordinarily well how to get paint onto a canvas" Gary Michael Dault, Globe and Mail, July 1999"Not the least of his accomplishments is to make paintings that hover so tantalizingly between abstraction and landscape that you end up unwilling to settle for any single reading." Gary Michael Dault, Globe and Mail, December 2000"Adamson has integrated the study of art history into his work, not as a cerebral academic exercise, but as something authentically animated, determined to elaborate a completely visual language." Joan Murray, Exhibition Statement, December 2000"Adamson traces a gorgeous line between abstraction and landscape Robert Enright, Border Crossings, Autumn 2001"Part of the appeal of Adamsons paintings, for me, lies in their open, grateful acknowledgement of the achievements of European modernism- and of the European painters who emigrated to New York in the 1930's and 40's, like Arshile Gorky, Mark Rothko and especially Hans Hofmann." Gary Michael Dault, Globe and Mail, December 2001"These paintings are satisfying traces of effort, his oil wake an attestation of devotion to the study of vast colour and epic form, the very building blocks of all that we see." Julia Dault National Post, December 2003"Ecstatically pursued, encyclopedic essays in the expressive possibilities of the language of paint." Gary Michael Dault, Canadian Art Magazine, Spring 2004 "Let your eye laze across these surfaces--look at them like you would a dense page of prose, say--and take in as much as you possibly can. It will be worth your while." Julia Dault, National Post, July 2005 "Adamson's paintings are playful, joyous antidotes to contemporary urban grayness, eliciting involuntary smiles from casual onlookers and giving much pleasure to the people who buy them." Betty Anne Jordan, Canadian House and Home Magazine, November 2006"Adamson's paintings convey a forceful intelligence and a blissed out beauty." Kate Regan, Toronto Life, December 2006" I am interested in teasing out the connections between seemingly disparate artists, such as the cave painters of Lasceaux and contemporary muralists like Katerina Grosse, or impressionist Claude Monet and serial abstractionist Pia Fries, in an attempt, not to level out painting, but to encourage cross fertilizations which, hopefully, will reinvigorate community and the appetites for the kind of nourishment found in good painting.