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Alexander Adams Artist Statement When current political or social events collide with or infringe upon my surroundings, I am compelled to share the experience and seek answers from others who may not share my point of view. Unfortunately, the slightest amount of miscommunication can unravel a conversation or polite debate and escalate into a heated confrontation. This approach is not an effective means of producing answers or resolving conflict between two opposing viewpoints. My creative output is an alternative form of communication. With my work, I strive to generate an atmosphere of reflection and contemplation for others. The subject of the work is subtle and to some extent, non-confrontational. This approach in combination with recognizable and well crafted materials allows me to effectively reach the widest audience possible while still conveying personal beliefs and opinions. Previous series of work has explored our nation’s fixation and use of television as a surrogate activity, Quaker theology and the humble task of sweeping. Recently my work has been inspired by the past and present trends of religious conservatism in our nation’s heartland. Some people either see this as a positive or negative trend. They may also consider the trend as part of the pendulous nature of America’s history. I present the possibility that the people who closely rely on farming, either as an occupation, local economy or simply for sustenance are religious as a result of their hard labor and the precariousness nature of agriculture. For those of us who simply buy our food at a market and who do not have a connection with the land, our outlook or religious needs may be different. By taking a considerate and anthropological approach, I present a topic that would normally be upsetting or uncomfortable for many and instead create an environment that will allow us to reconsider our positions on religious conservatism in America’s Heartland. My current work focuses on Homo Faber, Man the Maker . If the farmer is burdened with the task of growing food for the factory worker, the maker carries a similar burden of building the farmer’s tractor. The exchange does involve commerce but the acts are reciprocal no matter how distant. Obviously, our society is more complex than this scenario but we do rely each other. Technology, corporate farms and overseas job outsourcing has eliminated our dependence on the individual farmer and maker. The individual, such as a carpenter, cobbler, pipe fitter, or iron worker, who is in possession of specialized tacit knowledge and/or physical skills is no longer valued. It is no surprise that the majority of Blue Collar America populates our “Red” or conservative states. These people may be attempting to conserve their roles in our culture or preserve their occupations and ultimately their self worth. By heralding the hammer, mans oldest tool, I illustrate the vastness of our once great and skilled workforce that has all but disappeared. I promote our fellow citizens who are or would be Homo Faber without the barriers of political, ethical and cultural beliefs. Curriculum Vitae Education 2009 MFA Candidate, Glass, Tyler School of Art, Temple University, Philadelphia, PA 1998 BFA, Glass Massachusetts College of Art, Boston, MA. Exhibition Record (solo show marked by an asterisk) 2009 In Limbo, The Gray Area, Philadelphia, PA Transgressions, Hopkins Hall Gallery, Ohio State University, Columbus Ohio 2008 Steep In Thought, 3rd Invitational, Morgan Glass Gallery, Pittsburgh, PA XXXXY, Tyler Gallery, Elkins Park, PA 2007 In-Saynt*, Prism Contemporary Glass Gallery, Chicago, IL 2006 Second Annual Glass Invitational, Venice Art Center, Venice, FL 2004 Exquisite Objects, Obsidian Gallery, Tucson, AZ Here I Am, Obsidian Gallery, Tucson, AZ 2003 Dia De Los Muertos, Obsidian Gallery, Tucson, AZ Icono-Clash, Obsidian Gallery, Tucson, AZ 2002 Flyers, Obsidian Gallery, Tucson, AZ 1999 Philabaum and Friends, Philabaum Contemporary Art Glass, Tucson, AZ 1998 Texas National Exhibition, The Art Center, Stephen F. Austin State University, Nacogdoches, TX (catalog) Future Present, Chappell Gallery, Boston, MA 1995 Class Glass, Joseph Gross Gallery, University of Arizona, Tucson, AZ Bibliography Ashley Simcox “The Courage to Create”, American Style Magazine, August 2008, p59 Kurt Shaw “’Steep In Thought’ Exhibit Makes a Political Statement”, Pittsburgh Tribune-Review, October, 9, 2008 Visiting Artist Lecture 2007 Prism Contemporary Glass Gallery, Chicago, Ill. Collections Sonangol USA Corporation, Houston, TX Awards 2007 Graduate Teaching Assistantship 2006 Haystack Scholarship 1998 Pilchuck Scholarship 1997 Niche Student Award Additional Education 2004 Imagery in Blown Glass, Pilchuck Glass School, Greg Dietrich Vocabulary of Glass, Pittsburgh Glass Center, Michael Schunke and Tom Farbanish 1998 Neon and Hot Glass, Pilchuck Glass School, Cork Marcheschi |
 Distribution 2008 Pine, copper nails, steel and plastic 36" w 20" h 12" d
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