As you’ve traversed through this edition, some of the pieces, especially the cubist ones, may have at first seemed to you quite abstract - and in all fairness you wouldn’t be wrong, as there are a few similarities between abstract art, surrealism and cubism. For a start, none of these art forms are rational depictions of reality in the conventional sense and they all carry narratives which may not be obvious at first. Additionally, many of these works are often highly improvised and rely upon colour and symbolism to portray moods and emotions. Abstract art also expresses elements of the artist’s subconscious, such as their underlying emotions but, unlike surrealists, abstract artists don’t purposely seek to portray their subconscious minds directly. Though, whilst the similarities between surrealism and abstract art really stop there, there still remains a strong resemblance between that of abstract art and cubism – indeed, you could even say that Cubism is just a form of abstract art.
Abstract artists, like Cubists, often look to reconstruct reality by using a variety of shapes, symbols, and metaphors. In this regard there’s often a great misconception amongst viewers of abstract art that such works attempt to present a complicated picture, but this is frequently not the case. In fact, as we explored through Dylan Gill’s work, abstract artists, though not always through the use of squares and geometry, actually aim to simplify reality by stripping back the complex nature of the world around us. Take Adam’s work here for instance, you might struggle to wrap your head around it at first, but most of it is in fact a simplified representation of the coastal landscape that surrounds him in West Wales. Though, whilst the bulk of cubists reflect their realities through, well, cubes, and paintings that clearly resemble the likes of people and landscapes, abstract artists tend to have a greater interest in amplifying the moods that exist within their realities through the likes of vague colours and designs.
As you can see in Adam’s work, whilst his art is a recreation of his reality, it is primarily an emotional photograph of his world. In this regard, Adam, in a manner of many an abstract artist, doesn’t look to capture recognisable figures within the landscape that surrounds him, but the feelings emitted by it. In his work for example, there are no faces, no realistic shapes of mountains or seascapes, instead there are only deep contrasting colours, all of which represent different moods and feelings. What’s more about abstract art, is that whilst it does indeed come from an internal standpoint, such by representing the artists own emotions and views, its often totally vague lines, shapes, and colours allow viewers to form their own interpretations about what they’re looking at. This is point is particularly interesting, especially as the works within this edition have been mainly focused upon that of the artists’ subjective viewpoints, be it from their conscious or subconscious realms. Here then is perhaps the contrast we need. For abstract art takes the paintbrush, the camera or whatever medium the artist may be using and hands it to the viewer - allowing them to form their own concepts and ideas of what they might be looking at.
Anyway, it’s perhaps best I now left you to go and take some time to ponder over what Adam’s work may appear to be or mean to you. Indeed, the sparsity of his works certainly give plenty of room for the imagination to run wild. Though, if you’re still struggling to interpret anything here, or within this magazine generally, then I suggest going to the next section and re-reading the entire thing – as you may well just come back with a more open mind.
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