Adam Thompson prefers to distance himself from hands on making, utilizing found objects from a variety of locations and sources. Without a predetermined logic or conceptual code for their inclusion or exclusion, these objects are redistributed in the space largely unaltered, with an economy of means that adds nothing to an existing state of industrial overabundance and with large respect for their integrity. The tensions within the individual pieces are enhanced by the relationship between the works collectively and their questionable value as an exhibition.
Exhibiting decay, collapse and failure, the objects emerge from the moment environmental attrition takes hold and regress to their orignal nature. Yet themes of obsolescence, regression and exhaustion give way to the potential residing within the ephemeral understanding of matter. By re-instituting this material and cultural detritus, Thompson enacts an examination of creativity itself and of humankind’s relationship to nature through a physical experience which has been prioritized over language.
‘In a sense, there is not anything new here. It’s an unassuming process of collecting and composing found objects like an Archaeologist, not taking ownership but simply making visible, a method that could be described simply as composition. Nothing is transformed by direct intervention. This points to a broader conversation about value, authorship and creativity, when the consumer/subject faces constant and unrelenting injunctions to be creative. This pushes the question of the importance of invention as a requirement of the artwork’s agency’.
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