These works are a playful commentary on our human make-up. Each collage is an imagined world where anything is possible. They are packed with information from his scavenging in Deptford Market. There are images from old books, magazines, cards, airmail letters and photographs. A take on the traditional art school with Joshua Reynolds centre stage, In the Studio, has been created using Victorian magazines and catalogues of old tools. Look closely and you will see the logo of a well-known art supplier has been replaced with that of the artist. More recently Adrian has been including three-dimensional objects such as badges, little trinkets and pieces of fabric.

‘A lot of the work is experimental. You can start with a vague idea and see where it goes, which is good fun and what I like doing.’


    Painting both in oils and acrylic Adrian takes subject matter and themes that are very accessible to the viewer. His large paintings will take you on a journey from Cuba to Deptford, from the consumer society and the collapse of the banking system   through celebrations of dance and music , to spirits of the human emotions and dramas. A variety of creative materials is drawn upon combining colour ,shape and movement to explore various narratives.


    The screenprints vividly illustrate Adrian’s passion for collecting. The works of restless invention feature music hall, dance, a wrap sheet of superlatives, sheet music, icons of the screen and stage, the internet, planes, buses, cars and motorcyles. In ‘Stardust’ a 1927 Hoagy Carmichael song is the inspiration for a myriad of characters and events appearing on the same bill. Bandleader Billy Cotton shares the stage with amongst others, high kicking Tiller Girls and Fred Astaire, meanwhile swinging overhead is a man on a flying trapeze. Watching on from the balcony is a group of artists from the first surrealist exhibition, which took place in London in 1936. To one side of the stage - constructed out of car tyres - sits a bank of television monitors from the BBC’s outside broadcast for the 1953 coronation. Motorheads sees Adrian’s fascination with the visuals and mechanics of motor transport come to the fore using old technical drawings of early motorbikes cut up and collaged to assemble faces. 


     These large paintings journey from Cuba to Deptford, from the consumer society and the collapse of the banking system through celebrations of dance and music, to spirits of the human emotion and dramas. The characters come towards us in real space, enticing us into their world. The reliefs come out of a desire to work in a much freer way. In Consumer Head idealised consumers pose in designer clothes on a carpet made of plastic takeaway lids, between them a giant head, a totem for the greed and the corruption of the commercial market. In Creek Bridge, cars sweep past the cyclists and pedestrians, while eerie metallic headlights cut through the gloom and ominous clouds gather above a wet grey industrial landscape.

South-East London, England
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