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This painting is inspired by the musicians Idris Muhammad (Sudan), John Coltrane (Equinox), Pharaoh Sanders (Harvest Time) and Miles Davis (Silent Way). Dripping, flicking, hitting the containers of rock powder, spilling, moving, dancing etc. via the sequences of sound as the tunes were played. Through these actions, forms created take on the forms of landscape and objects within the landscape, as though one wanders through the image on a pathway to somewhere, somewhere the viewer's imagination creates through time spent with the image. Like ancestors staring at the walls of the caves as the flickering light from the fires reveal images through the dancing shadows created upon the wall. The painting uses rock pigments collected from my walks and travels in the landscape of Somerset, Spain, Cyprus and Mexico. The rocks were collected during my walks and travels, turning into powder and using as pigment to create these small paintings exploring the accidental and incidental whilst listening to jazz sounds from legends. The combination of listening to music and working with nature, through various elements including the powder, movement of water, sea water, snow water, hailstone water, turps, linseed and gravity exploring the intervention of the artist with a variety of materials and means to capture the essence of the moment, forming these topographical works on paper. The collaborative pieces between the artist and the materials draw out the natural and the manipulated, forming paintings that explore the movement of nature, entropy and conceptual thoughts influenced in subtle ways through the intervention of sound to form poetical painting with natural materials and industrially made material, resonating with the Palaeolithic and Anthropocene age.
Sudan Equinox at Harvest Time In a Silent Way: Detail
Sudan Equinox at Harvest Time In a Silent Way: Detail
Sudan Equinox at Harvest Time In a Silent Way: Detail
This painting is inspired by the musicians Idris Muhammad (Sudan), John Coltrane (Equinox), Pharaoh Sanders (Harvest Time) and Miles Davis (Silent Way). Dripping, flicking, hitting the containers of rock powder, spilling, moving, dancing etc. via the sequences of sound as the tunes were played. Through these actions, forms created take on the forms of landscape and objects within the landscape, as though one wanders through the image on a pathway to somewhere, somewhere the viewer's imagination creates through time spent with the image. Like ancestors staring at the walls of the caves as the flickering light from the fires reveal images through the dancing shadows created upon the wall. The painting uses rock pigments collected from my walks and travels in the landscape of Somerset, Spain, Cyprus and Mexico. The rocks were collected during my walks and travels, turning into powder and using as pigment to create these small paintings exploring the accidental and incidental whilst listening to jazz sounds from legends. The combination of listening to music and working with nature, through various elements including the powder, movement of water, sea water, snow water, hailstone water, turps, linseed and gravity exploring the intervention of the artist with a variety of materials and means to capture the essence of the moment, forming these topographical works on paper. The collaborative pieces between the artist and the materials draw out the natural and the manipulated, forming paintings that explore the movement of nature, entropy and conceptual thoughts influenced in subtle ways through the intervention of sound to form poetical painting with natural materials and industrially made material, resonating with the Palaeolithic and Anthropocene age.
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Sudan Equinox at Harvest Time (In a Silent Way) Painting

Adam R Grose MA RWAAN

United Kingdom

Painting, Found Objects on Paper

Size: 16.5 W x 12.8 H x 0.8 D in

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About The Artwork

This painting is inspired by the musicians Idris Muhammad (Sudan), John Coltrane (Equinox), Pharaoh Sanders (Harvest Time) and Miles Davis (Silent Way). Dripping, flicking, hitting the containers of rock powder, spilling, moving, dancing etc. via the sequences of sound as the tunes were played. Through these actions, forms created take on the forms of landscape and objects within the landscape, as though one wanders through the image on a pathway to somewhere, somewhere the viewer's imagination creates through time spent with the image. Like ancestors staring at the walls of the caves as the flickering light from the fires reveal images through the dancing shadows created upon the wall. The painting uses rock pigments collected from my walks and travels in the landscape of Somerset, Spain, Cyprus and Mexico. The rocks were collected during my walks and travels, turning into powder and using as pigment to create these small paintings exploring the accidental and incidental whilst listening to jazz sounds from legends. The combination of listening to music and working with nature, through various elements including the powder, movement of water, sea water, snow water, hailstone water, turps, linseed and gravity exploring the intervention of the artist with a variety of materials and means to capture the essence of the moment, forming these topographical works on paper. The collaborative pieces between the artist and the materials draw out the natural and the manipulated, forming paintings that explore the movement of nature, entropy and conceptual thoughts influenced in subtle ways through the intervention of sound to form poetical painting with natural materials and industrially made material, resonating with the Palaeolithic and Anthropocene age.

Details & Dimensions

Painting:Found Objects on Paper

Original:One-of-a-kind Artwork

Size:16.5 W x 12.8 H x 0.8 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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