News Release

Adam Lark - "near the nameless"

Constructing one's reality is that of continual discovery. Whether the human conscious is aware of these steps, the evolution of the unknown continues to be one of personal unearthing.

A combination of forces helps to drive this quest, where creation and assumption comes into play. The mystery of the unknown becomes the focal point of such discovery and it is this ambiguity and form of identification that artist, Adam Lark seeks to explore.

Fascinated by what is hidden and operates below the surface, "Near the Nameless" highlights Lark's use of his captive lens to alter and conceptualize his perception of the metaphysical.

Using the phenomenon of hidden variables, Lark's first narrative relates his work to that of reality television, in particular, ghost hunting reality shows.

He asserts that such television shows are a by product of a society that has been left unprepared to deal with the workings of the unknown. More so, such shows are created as a naïve attempt to make sense of the unconfirmed.

Lark's I Know You're Out There video installation places him as the sole principle hunter who is to explore "haunted" spaces. The installation is a combination of performance, wanted truths and moving fictions that mystify the lines between reality and the psychological. Lark sees his performance of "ghost hunting" as an insight into society's desire for rational closure of hidden meanings.

"It is something I can't control, it is something I can't see, but it is something I can collaborate with."

Lark also uses the notion of man-made salterns, exploring his own working manifestation of its conditions.

Researching the way sea salt is manufactured and the process of how evaporation occurs; Lark delves into the process of constructing his very own saltern.

Approaching this man-made formation, Lark introduces sodium chloride as his preferred system of extraction.

Sectioned off paper was flooded with water, paint and sea salt. The extracted water was then left to evaporate over the course of weeks. What is exhibited is an image that is generated by the natural process of evaporation.

Can one record a construction of randomness or are there pull factors that construe a result that inevitably can never truly be random?

Lark observes that the image, although random in appearance has characteristics that are fragmented geometric shapes, also known as fractals.

Clouds, mountain ranges, lightning bolts, coastlines, snowflakes, certain vegetables and animal coloration are examples of possible fractals.

Lark's visual experiments invite the viewer to observe a collaboration between the marks made by the forces of evaporation and gravity and the wilful intent of his own hand. Contrasting elements of chaos and control he presents an opportunity for the viewer to become immersed in the experience.

In addition, "Tooth in bottle" is a mixed-media response to the 1976 film, "The Tenant."

Please note: The full details of this narrative cannot be entirely disclosed in order to preserve the evolving authenticity and notions of individually orchestrated ideals. Viewers will be made aware of the varying additions once observing and experiencing the final showing.

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