Adam Henry
Adam Henry’s work addresses the basic logic of painting, working with the tricks of light to create unique compositions. Inspired by outer space, ancient textiles, and new technology, these works also reveal how his childhood in the New Mexican desert influenced his visual outlook. The artist studied under Mel Bochner at Yale and has been inspired by his metor’s use of conceptual art and systems since then. He was also a teaching assistant in the seminal Color Theory class invented by Josef Albers, and has since used four-color map theory in his work. Using a wet-into-wet painting technique, he renders soft color gradients and refracted bands of color that reveal the “hidden anomalies in the mechanics of perception.” A World Views residency, which allowed him to travel to Tokyo, aided in his consideration of abstractions within urban environments. Henry’s work challenges the physical capabilities of the canvas while targeting patterns and people who are forced to live in close proximity.
Henry has shown at institutions including New Britain Museum of American Art, Connecticut, Skirball Museum, Cincinnati, Ohio, South Street Seaport Museum, New York, Median Museum, Beijing, Ke Center for Contemporary Art, Shanghai, Center for Experimental and Perceptual Art, Buffalo, New …
Adam Henry’s work addresses the basic logic of painting, working with the tricks of light to create unique compositions. Inspired by outer space, ancient textiles, and new technology, these works also reveal how his childhood in the New Mexican desert influenced his visual outlook. The artist studied under Mel Bochner at Yale and has been inspired by his metor’s use of conceptual art and systems since then. He was also a teaching assistant in the seminal Color Theory class invented by Josef Albers, and has since used four-color map theory in his work. Using a wet-into-wet painting technique, he renders soft color gradients and refracted bands of color that reveal the “hidden anomalies in the mechanics of perception.” A World Views residency, which allowed him to travel to Tokyo, aided in his consideration of abstractions within urban environments. Henry’s work challenges the physical capabilities of the canvas while targeting patterns and people who are forced to live in close proximity.
Henry has shown at institutions including New Britain Museum of American Art, Connecticut, Skirball Museum, Cincinnati, Ohio, South Street Seaport Museum, New York, Median Museum, Beijing, Ke Center for Contemporary Art, Shanghai, Center for Experimental and Perceptual Art, Buffalo, New York, Minnesota Center for Photography, Minneapolis, and Bronx Museum, New York, among others.
