Posturing
Rachel Adams
Rachel Adams, Posturing, 2012
Starched tie-dyed fabric, MDF, timer frame, painted waxed paper
180 x 100 x 70 cm
Ottoman
Rachel Adams
Rachel Adams, Ottoman, 2011
Wood, fabric, glue, photocopy paper, gouache, furniture legs
145 x 90 x 90 cm
Ottoman
Rachel Adams
Rachel Adams, Ottoman, 2011
Wood, fabric, paper, furniture legs, gouache (green)
145 x 90 x 90 cm
Ottoman
Rachel Adams
Rachel Adams, Ottoman, 2011
Wood, fabric, paper, furniture legs, gouache (green)
145 x 90 x 90 cm
Ottoman
Rachel Adams
Rachel Adams, Ottoman, 2011
Wood, fabric, paper, furniture legs, gouache (green)
145 x 90 x 90 cm
Ottoman
Rachel Adams
Rachel Adams, Ottoman, 2011
Wood, fabric, paper, furniture legs, gouache (green)
145 x 90 x 90 cm
Rather, her work seems both dominant and not, confrontational and self-effacing. Forms that nod to the human body, their titles (Recliner, Ottoman, Posturing) implying physical confidence and relaxation, contain contradictions.
Posturing
Rachel Adams
Rachel Adams, Posturing, 2012
Starched tie-dyed fabric, mdf, timer frame, painted waxed paper
posturing: 180 x 100 x 70 cm, plinth: 100 x 100 x 100 cm
Posturing
Rachel Adams
Rachel Adams, Posturing, 2012
Starched tie-dyed fabric, mdf, timer frame, painted waxed paper
posturing: 180 x 100 x 70 cm, plinth: 100 x 100 x 100 cm
There’s nothing imposing about their delicate, crinkled surfaces, and yet they oblige a certain mode of engagement in the viewer – looking up, around, behind – that generate an unusual power imbalance between the viewer and the viewed.
Occupying the space of the human body, Adams’ works suggest a physical absence, something drained of life, yet crackling with potential energy.
Text by Ben Street
Recliner
Rachel Adams
Rachel Adams, Recliner, 2011
Wood, fabric, glue, photocopy paper, gouache
70 x 160 x 70 cm
Recliner
Rachel Adams
Rachel Adams, Recliner, 2011
Wood, fabric, glue, photocopy paper, gouache
70 x 160 x 70 cm
Recliner
Rachel Adams
Rachel Adams, Recliner, 2011
Wood, fabric, glue, photocopy paper, gouache
70 x 160 x 70 cm
Rachel Adams’ work is drawing, but not quite as we know it. Using paper draped over
wooden armatures to create large sculptural forms in bleached-out, faded pastel tones, Adams extrapolates one of drawing’s traditional functions – to define spatial relationships on a plane – into three dimensions. Her work occupies the space of the gallery much as a bronze sculpture would, but with none of its mass and spatial aggression.
