Adam Lovitz
Adam Lovitz (b. 1985) paints like an alchemist, concocting potions of paint composed of ingredients like sand and schist—sourced from walks along the Wissahickon Creek—mixed with acrylic; he then pours these concoctions over panels that he later excavates through sanding and scraping, and then re-paints. Lovitz catches the excess paint that drips from the support in small containers, integrating the recycled medium back into the painting or applying it to other works in progress (Lovitz paints on the floor of his studio, the panels elevated on small cans or blocks of wood). The recycled paint becomes a goopy morass that Lovitz thins with water; at times, he applies the viscous brew directly to the painting. Having created a series of layers through consecutive applications of paint, Lovitz gouges and scars the surface creating topographic effects. He also adds and removes resists during the layering process, creating recessed forms on the surface; paints a range of imagery including abstract patterns, cartoonish blobby faces, numerals and words on already substantially layered grounds; embeds into the painting skins of dried acrylic; and uses other materials like asphalt to provide texture and bas-relief. Lovitz’s paintings evoke the inherent duality and contradictions of human existence: culture …
Adam Lovitz (b. 1985) paints like an alchemist, concocting potions of paint composed of ingredients like sand and schist—sourced from walks along the Wissahickon Creek—mixed with acrylic; he then pours these concoctions over panels that he later excavates through sanding and scraping, and then re-paints. Lovitz catches the excess paint that drips from the support in small containers, integrating the recycled medium back into the painting or applying it to other works in progress (Lovitz paints on the floor of his studio, the panels elevated on small cans or blocks of wood). The recycled paint becomes a goopy morass that Lovitz thins with water; at times, he applies the viscous brew directly to the painting. Having created a series of layers through consecutive applications of paint, Lovitz gouges and scars the surface creating topographic effects. He also adds and removes resists during the layering process, creating recessed forms on the surface; paints a range of imagery including abstract patterns, cartoonish blobby faces, numerals and words on already substantially layered grounds; embeds into the painting skins of dried acrylic; and uses other materials like asphalt to provide texture and bas-relief. Lovitz’s paintings evoke the inherent duality and contradictions of human existence: culture versus nature, specificity versus universality. They bring to mind urban entropy and sedimentation, where layer upon layer of old, weathered advertisements peel from building walls revealing forlorn images and letterforms, or where ingrained stains and debris on sidewalks coalesce into abstract compositions. But entropy can just as well be evident in nature, and some of Lovitz’s more abstract, monochromatic paintings are reminiscent of ancient rocks—both earthly and meteoric—eroded and morphed through time and distance traveled.
Lovitz received a BFA from University of Delaware and an MFA from the Pennsylvania Academy of the Fine Arts. He has been in group exhibitions in Philadelphia-area venues including Snyderman Works Gallery, Kamihira Gallery, Tiger Strikes Asteroid, Gross McCleaf Gallery, Fjord Gallery, Marginal Utility, the Delaware Center for Contemporary Arts, and the Pennsylvania Academy of the Fine Arts. Lovitz was also in a two person exhibition at Space 1026 (with Patrick Maguire). Lovitz has presented work in New York at Spring/Break Art Show (with Patrick Maguire and Ashley Wick) and in a group exhibition at Trestle Gallery. He lives and works in Philadelphia.
Courtesy of Fleisher/Ollman Gallery
