Paul Adair creates images that appear full of promise and perfection. Upon closer inspection we see the perfection come unstuck. Each photograph's precise formal composition gives way to the crudeness of his self-made constructions. Adair's works epitomize the disappointment and mediocrity that are the flipside of hope and fantasy, comparing the visual to an experience - like the embellishment of a theme park or photographs on a fast-food menu.
Three-Hole Mountain Inn follows a similar process to Decoy (Stills 2007), where Adair physically constructs all of his sets and props before photographing them. The method of re-creating and re-presenting objects has become integral to developing his practice and continues his interest in the relationship between sculpture and photography.
Making its way down the sterile steps of an empty swimming a glowing orange basketball is frozen mid-bounce. A strange scenario. But the stillness of Basketball belies its false truth and the barely perceptible fine lines of hanging wire tell the real story; it is not just suspended in time but in space. This ball's impending impact never happened; if this pool were filled with water its walls would soften and sag, the perfectly aligned tiles would slide out of place, undone by giving-way UHU glue. Like a glimpse behind-the-scenes at a movie shoot, when the magic of cinematic illusion momentarily becomes the banal reality of booms and blue screen, Adair leaves us hanging too, suspended in disbelief.
This exhibition sees Adair experiment with the installation of his large-scale colour photographs, emphasising a space or a place where the objects become something other than themselves.
Paul Adair (b. Australia, 1982) graduated from the Queensland College of Art in 2005. Since 2003 he has exhibited regularly in solo and group exhibitions in Brisbane, Sydney, Melbourne and Perth. In 2007 he was awarded an Australia Council studio residency in Los Angeles, which he will undertake in early 2009. This is Paul Adair's first solo exhibition with Stills Gallery.
Women of Power consists of 29 color photographs depicting Polish witches, healers, sorceresses, visionaries, spiritual leaders and shamanic techniques practitioners.
According to what Ewelina Jarosz wrote about Women of Power : "The title points to Katarzyna Majak's intenti...
C’est à une invitation à la sérénité et à un retour sur soi que nous propose Yves Marcellin dans cette exposition inédite, installation photographique consacrée aux cinq remémorations du Bouddha.
Empreint des écrits du vénérable moine bouddhiste Thich Nhat Hanh, et plus particulièrement sensi...
With "The Family of Dog", Michael Ruetz has created, over the last 50 years, a unique body of photographic work. Superficially, these images might appear to pay tribute to the established forms of animal photography. But a second, more focused view shows that the reverse is true. Ruetz' pictures are as far removed from those of the animal specialist...
Failed States is an exploration of coincidence and poetics amid the barriers and bureaucracy of governmental power.
In January 2010, while on a trip to research the history of snipers in Austin, Texas, Magid witnessed a mysterious shooting on the steps of the State Capitol. After attempting to speak with a state empl...
Une Ford Pick-up, une Pan/Shovel 66, une Custom 2004 (Jeffrey), une Triumph 69 (Vince), une El Camino 64, une Bel Air 65 (peinte par Vince), une Duo Glide 62, une Comet (qui appartenait à Steve Mc Queen), une Special Construction 2000 (toutes, OM), une Harley 1969, une Dyna 2003 (Wes),une Pan 59, une Pan 62, une Pan 65 (John Copeland), une Sportster 68 (Dr...
Le conte photographique l’Emouvantail, se veut être « l’Echo » d’une histoire d’amour entre un épouvantail etune jeune femme, la Dame de l’O qui pourrait être celle de chacun d’entre nous… Mais pas seulement…
Créée par le Musée de l’Elysée à Lausanne, l’exposition Hans Steiner Chronique de la vie moderne a été présentée à la Fotostiftung de Winterthour, à la Médiathèque Valais-Martigny et au Museo Villa dei Cedri de Bellinzona.
La manie de regarder, plutôt que de photographier, a pris de telles proportions que l'on collectionne tout, mais que l'on ne perçoit finalement plus rien.
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