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The work is made from a method I developed that allows the underside of the paint layer to be shown as the outward surface. The viewable surface is identical to peeling the entire paint layer off, and then flipping it over. This approach opens up a way to expose the bones of the process of painting itself- Mistakes and do-overs, erasures and repaints, scratching away the paint, smudging it off with turpentine, things that happen within the painting procedure which are usually covered up, are all visible to assess. As well as showing the history involved in the making of each composition, it also creates a dialog about the anatomy of abstract painting, by literally providing a new perspective.

Making these paintings inspires me every time because of their honesty- thoroughly recording every detail within the process of art making.
The work is made from a method I developed that allows the underside of the paint layer to be shown as the outward surface. The viewable surface is identical to peeling the entire paint layer off, and then flipping it over. This approach opens up a way to expose the bones of the process of painting itself- Mistakes and do-overs, erasures and repaints, scratching away the paint, smudging it off with turpentine, things that happen within the painting procedure which are usually covered up, are all visible to assess. As well as showing the history involved in the making of each composition, it also creates a dialog about the anatomy of abstract painting, by literally providing a new perspective.

Making these paintings inspires me every time because of their honesty- thoroughly recording every detail within the process of art making.
The work is made from a method I developed that allows the underside of the paint layer to be shown as the outward surface. The viewable surface is identical to peeling the entire paint layer off, and then flipping it over. This approach opens up a way to expose the bones of the process of painting itself- Mistakes and do-overs, erasures and repaints, scratching away the paint, smudging it off with turpentine, things that happen within the painting procedure which are usually covered up, are all visible to assess. As well as showing the history involved in the making of each composition, it also creates a dialog about the anatomy of abstract painting, by literally providing a new perspective.

Making these paintings inspires me every time because of their honesty- thoroughly recording every detail within the process of art making.
The work is made from a method I developed that allows the underside of the paint layer to be shown as the outward surface. The viewable surface is identical to peeling the entire paint layer off, and then flipping it over. This approach opens up a way to expose the bones of the process of painting itself- Mistakes and do-overs, erasures and repaints, scratching away the paint, smudging it off with turpentine, things that happen within the painting procedure which are usually covered up, are all visible to assess. As well as showing the history involved in the making of each composition, it also creates a dialog about the anatomy of abstract painting, by literally providing a new perspective.

Making these paintings inspires me every time because of their honesty- thoroughly recording every detail within the process of art making.
The work is made from a method I developed that allows the underside of the paint layer to be shown as the outward surface. The viewable surface is identical to peeling the entire paint layer off, and then flipping it over. This approach opens up a way to expose the bones of the process of painting itself- Mistakes and do-overs, erasures and repaints, scratching away the paint, smudging it off with turpentine, things that happen within the painting procedure which are usually covered up, are all visible to assess. As well as showing the history involved in the making of each composition, it also creates a dialog about the anatomy of abstract painting, by literally providing a new perspective.

Making these paintings inspires me every time because of their honesty- thoroughly recording every detail within the process of art making.
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Inside-out 757 "Samurai Jack" Painting

Benjamin Adelmann

United States

Painting, Acrylic on Canvas

Size: 26 W x 32 H x 1 D in

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935 Views
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About The Artwork

The work is made from a method I developed that allows the underside of the paint layer to be shown as the outward surface. The viewable surface is identical to peeling the entire paint layer off, and then flipping it over. This approach opens up a way to expose the bones of the process of painting itself- Mistakes and do-overs, erasures and repaints, scratching away the paint, smudging it off with turpentine, things that happen within the painting procedure which are usually covered up, are all visible to assess. As well as showing the history involved in the making of each composition, it also creates a dialog about the anatomy of abstract painting, by literally providing a new perspective. Making these paintings inspires me every time because of their honesty- thoroughly recording every detail within the process of art making.

Details & Dimensions

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:26 W x 32 H x 1 D in

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Adelmann is deeply interested in the use of art as a study tool for investigations into epistemology and metaphysics. His practice challenges diametric structures related to physical and spiritual, seen and unseen, and heaven and earth. Adelmann explores the proposition of a supernal universe that precedes these maxims, established from studies in ancient history, religion and philosophy. In 2011, Adelmann received a BA in Philosophical Studies at CSU Northridge. After a year in an assistantship to a prominent artist, Adelmann was selected to attend the SSPI Painting Program at Tyler School of Art. He's shown in galleries from Tokyo to New York, and has been interviewed by critic Anthony Haden-Guest (who famously was the last to interview Basquiat) and curator Kate Mothes, among others. Benjamin has been active in shows and publications for the past 10 years. He lives and works in Washington USA.

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