Heaven on the highway
For the past few years Justin Adian has been busy refining his practice. He works painting by painting, moving from one to the next based on the aesthetic implications he intuits in the most recent ones. Deeply engrossed in the physical labor of making each of them, ideas arise for Adian as a side-effect of his engagement with every aspect of their execution.
Despite the playfulness inherent to Adian’s vocabulary of plush organic forms and bright pastel colors, and even the inclusion of glitter in some paintings, he is always concerned with getting his work to operate successfully as abstract painting, which is to say, in relation to the formal issues that abstract painters have grappled with over the past century or so.
There is a bodily relationship to such hand-made lines, which—when combined with the pliability of his panels—means that we relate to them in terms of our own bodies, considering the way that one panel touches another as akin to how one person exists in proximity another.