Visit us at UNTITLED, ART San Francisco, Booth B5

We are pleased to announce Pat Adams is represented by the gallery.

Pat Adams, Apparent , 1982, acrylic over lithograph proof on paper, 25 1/2 x 18 inches

Upcoming exhibition of Adams’s works on paper and paintings from the late 1970s and early 80s is scheduled for spring 2020.

A selection of work will be featured at the gallery’s Booth B5 at UNTITLED, ART San Francisco .

Click here to read the press release

Pat Adams, Our Time, 1979, mixed media on paper, 21 1/4 x 29 inches

Pat Adams (b. 1928) has been producing beautiful, deeply engaging work for nearly 70 years. Since the 1960s, Adams has developed a personal style typified by expansive, richly colored and textured fields punctuated by sharply defined abstract elements, often in high-key hues: stripes, arabesques, spirals, circles, triangles and other geometric figures. Adams has referred to her imagery as “events.” The precision of the geometric abstract elements is pitted against disorder—endless expanses of space which have been suggested by layers, skeins, splashes, stains and blots of paint. Adams’s grounds often include sand, mica and other granular natural materials to her paint, adding a rich material physicality.

Pat Adams, Calculus of Rhyme , 1987, acrylic, sand and pigment on paper, 18 7/8 x 16 1/2 inches

The paintings of Pat Adams invoke an exalting vision of the world, and imaginary apprehension of physical reality in which the elemental and the cosmic are eloquently subsumed. Whether small, done on 10” x 12” sheets of paper, or wall-sized, they represent an inquiry into primal principles, origins and ends, first things and final causes. They exemplify that drive to perceive the universe as a coherent and unbroken totality in which the smallest element is inexorable bound up in the structure of the whole.

-Sherrye Cohn

Pat Adams, Out Come Out , 1980, oil, isobutyl methacrylate, pastel, mica, eggshell and sand on linen, 80 x 80 inches

Adams’ work is visually enticing, but also about the life of the mind. Her work is suggestive. She is fascinated with physics and the psychology of perception. Adam’s worldview combined with an intense focus on visuality with an awareness of perception—how we see, feel, and comprehend the world—has its origins during her childhood in California, in the midst of the Depression, and was solidified in her years at the University of California, Berkeley.