Artist Statement:
I paint my heart. No one sees.
You brush past the story that’s not just my life but yours. Feeling deep is what I do; it’s a love-hate relationship and I wouldn’t change it for anything.
The romantic me WANTS, no is DYING for, you to notice me, you, your love, your friend, your pain, my pain, the passion I shared yesterday, that 10-second encounter with a stranger you told me about...the one where you held eyes and you can still feel caressing your being...
I paint for that. I paint for you.
Notice me, notice you...
____
My entire life has revolved around the duality of relationships; intimate, platonic, or estranged. It’s an intoxicating subject matter as positive or negative events occur. I paint to present a documented awareness of external, and more often, internal, hidden emotions.
I create in all mediums; whatever is
available. I paint uninhibited by my
area, and have never felt constrained by an environment or lack of material. My primary choice is to paint on canvas. I like the punishment you can inflict on it and the way you can move it to a clean wall so easily after a battle has been fought and it looks so contained.
Large paintings thrive particularly with exaggerated impact from the sheer dominance they have in a room. I find that extremely appealing.
My art teachers often pushed for accuracy in shape, depth, and form; wanting an exact depiction. Something I’ve resisted. I often think of my sensei (teacher) in Japan hounding the forms of my work. I strive to obtain a surreality to every piece, even in some of the most abstract of pieces. The dimensional form keeps its possibility in its abstractness.
Base Painting:
The initial process of painting is extremely sporadic. Because of this, I’ve learned to limit the color scheme of my palette when I set up my floor to paint. This helps a great deal in having broad control over the initial result on the canvas. The inspiration or story that rides the top of the painted surface is not inhibited or regulated by this first stage, even though naturally it is influenced. I’ve found that color can capture any desired emotion that might arise.
In short, each painting is defined as two events, not One. The “base painting” (as I like to call it) and the experience that rides on it, eventually pair as one.
The overriding experience:
With the base paint completed, I begin drawing random lines that search for meaning, becoming points of connection to others. I read the canvas, its hidden motives, and my own, all the while conscious of the movement in the base painting. Often turning the canvas to give the area more opportunity to expand and thrive. I’m not interested in trapping its potential into my still infant-like vision. The lines look for fluidity.
I have to know WHY it is all there. The meaning of the story of the art is imperative. From that moment of recognition, the connective passion begins in building its greater and objectionable state from my internal perspective.
I push the lines past its boundaries of correctness or normality to achieve its objective of explaining the mission of the story. I know to stop when I feel myself pushing into the story, looking for things to do.
My relationship with the painting comes in one of three ways:
• the main character in the piece
• the ‘victim’
• as a viewer of some circumstance or event
I often include circles or random mis-colored objects, to represent viewers, average spectators to an event. The goal is to be abstract enough to create the viewer's possible inclusivity to the piece, yet remain absolute in what it is representing. I seek an unquestionable relatable experience.
For me, the painting has achieved its fullness when a viewer reaches that recognition and association with one of those three ways. I’m grateful when at least ONE person does.... even if that one person is me.
The Why:
Art has a way of exposing things I seek to hide. When people see my paintings, I hope they can somehow see the association in their lives. To know they are not the only ones experiencing deeply emotional events.
I hope they also see a varied perspective. One that will give them insight, into the other side of life’s coin.
Painting for me is the most verbal medium I have for expressing beyond the boundaries of language. I want to push thought back to substance. The work and its title represent my angle of a moment that, I
hope becomes relatable or intimate.
I live to grow.
_____
BIOGRAPHY:
Adam Parsons was born in 1971 in Wales, where from an early age he expressed himself creatively through drawing, painting, lego blocks, or plastic models. Most of his drawings were primarily from his imagination thankfully this beginning is still a foundation in his work today.
In 1991 he moved to Japan wanting a drastic change in culture and lifestyle to influence his drawings in dramatic ways. He received it. After being awarded the “Best New Illustrator” at Tokyo-Ten in ‘95 he decided it was time to push himself.
During the next brief 4 years, Adam’s changes became more rapid, and moved from illustrator to surrealist artist into the abstract.
Quite a feat producing over 200 pieces of work in one year.
Japan’s influence was ending as a painful divorce showed and he decided to move to the US in 1999. The emotional exploration that comes with drastic change is another crucial aspect of Adam’s art. The emotional voice became profound as he was learning photo imagery. Through digital enhancement, his art could have multiple voices and interpretations, and this is now an important part of his artistry.
Adam has an astounding body of work primarily due to pushing himself past his boundaries. A very important message in his pieces. He’s not been one to shy away from experience and his art is reflective of this. Adam thinks it’s important to push into the human constructs of how we see and interpret intimacy.
The overwhelming shallow perspective of sexuality in art has been a disheartening experience for Adam. The interexperience in relationships is at the core of his explorations and mostly takes on a multi-interpretive view.
He realized art was missing a bridge in helping others openly relate to art with sexual content...in comes Intimatism, is an art movement. Born from desire.
Isn’t desire our heart’s expression showing we matter?
The desire to push through what’s not working.
The desire to be deeply penetrated a profound awakening.
The desire of connection, of disruption, of unease, of pleasure, of pain, of bliss.
Desire is the heart of us and Intimatism is its expression.
You brush past the story that’s not just my life but yours. Feeling deep is what I do; it’s a love-hate relationship and I wouldn’t change it for anything.
The romantic me WANTS, no is DYING for, you to notice me, you, your love, your friend, your pain, my pain, the passion I shared yesterday, that 10-second encounter with a stranger you told me about...the one where you held eyes and you can still feel caressing your being...
I paint for that. I paint for you.
Notice me, notice you...
____
My entire life has revolved around the duality of relationships; intimate, platonic, or estranged. It’s an intoxicating subject matter as positive or negative events occur. I paint to present a documented awareness of external, and more often, internal, hidden emotions.
I create in all mediums; whatever is
available. I paint uninhibited by my
area, and have never felt constrained by an environment or lack of material. My primary choice is to paint on canvas. I like the punishment you can inflict on it and the way you can move it to a clean wall so easily after a battle has been fought and it looks so contained.
Large paintings thrive particularly with exaggerated impact from the sheer dominance they have in a room. I find that extremely appealing.
My art teachers often pushed for accuracy in shape, depth, and form; wanting an exact depiction. Something I’ve resisted. I often think of my sensei (teacher) in Japan hounding the forms of my work. I strive to obtain a surreality to every piece, even in some of the most abstract of pieces. The dimensional form keeps its possibility in its abstractness.
Base Painting:
The initial process of painting is extremely sporadic. Because of this, I’ve learned to limit the color scheme of my palette when I set up my floor to paint. This helps a great deal in having broad control over the initial result on the canvas. The inspiration or story that rides the top of the painted surface is not inhibited or regulated by this first stage, even though naturally it is influenced. I’ve found that color can capture any desired emotion that might arise.
In short, each painting is defined as two events, not One. The “base painting” (as I like to call it) and the experience that rides on it, eventually pair as one.
The overriding experience:
With the base paint completed, I begin drawing random lines that search for meaning, becoming points of connection to others. I read the canvas, its hidden motives, and my own, all the while conscious of the movement in the base painting. Often turning the canvas to give the area more opportunity to expand and thrive. I’m not interested in trapping its potential into my still infant-like vision. The lines look for fluidity.
I have to know WHY it is all there. The meaning of the story of the art is imperative. From that moment of recognition, the connective passion begins in building its greater and objectionable state from my internal perspective.
I push the lines past its boundaries of correctness or normality to achieve its objective of explaining the mission of the story. I know to stop when I feel myself pushing into the story, looking for things to do.
My relationship with the painting comes in one of three ways:
• the main character in the piece
• the ‘victim’
• as a viewer of some circumstance or event
I often include circles or random mis-colored objects, to represent viewers, average spectators to an event. The goal is to be abstract enough to create the viewer's possible inclusivity to the piece, yet remain absolute in what it is representing. I seek an unquestionable relatable experience.
For me, the painting has achieved its fullness when a viewer reaches that recognition and association with one of those three ways. I’m grateful when at least ONE person does.... even if that one person is me.
The Why:
Art has a way of exposing things I seek to hide. When people see my paintings, I hope they can somehow see the association in their lives. To know they are not the only ones experiencing deeply emotional events.
I hope they also see a varied perspective. One that will give them insight, into the other side of life’s coin.
Painting for me is the most verbal medium I have for expressing beyond the boundaries of language. I want to push thought back to substance. The work and its title represent my angle of a moment that, I
hope becomes relatable or intimate.
I live to grow.
_____
BIOGRAPHY:
Adam Parsons was born in 1971 in Wales, where from an early age he expressed himself creatively through drawing, painting, lego blocks, or plastic models. Most of his drawings were primarily from his imagination thankfully this beginning is still a foundation in his work today.
In 1991 he moved to Japan wanting a drastic change in culture and lifestyle to influence his drawings in dramatic ways. He received it. After being awarded the “Best New Illustrator” at Tokyo-Ten in ‘95 he decided it was time to push himself.
During the next brief 4 years, Adam’s changes became more rapid, and moved from illustrator to surrealist artist into the abstract.
Quite a feat producing over 200 pieces of work in one year.
Japan’s influence was ending as a painful divorce showed and he decided to move to the US in 1999. The emotional exploration that comes with drastic change is another crucial aspect of Adam’s art. The emotional voice became profound as he was learning photo imagery. Through digital enhancement, his art could have multiple voices and interpretations, and this is now an important part of his artistry.
Adam has an astounding body of work primarily due to pushing himself past his boundaries. A very important message in his pieces. He’s not been one to shy away from experience and his art is reflective of this. Adam thinks it’s important to push into the human constructs of how we see and interpret intimacy.
The overwhelming shallow perspective of sexuality in art has been a disheartening experience for Adam. The interexperience in relationships is at the core of his explorations and mostly takes on a multi-interpretive view.
He realized art was missing a bridge in helping others openly relate to art with sexual content...in comes Intimatism, is an art movement. Born from desire.
Isn’t desire our heart’s expression showing we matter?
The desire to push through what’s not working.
The desire to be deeply penetrated a profound awakening.
The desire of connection, of disruption, of unease, of pleasure, of pain, of bliss.
Desire is the heart of us and Intimatism is its expression.
Education:
Self-taught
Awards & Distinctions:
2018 “The Illustrator” - Biographic Documentary Film. Indianapolis, IN
2009 Indy Star - Newspaper Release. Indianapolis, IN
2006 “The Valley of Rhyme” - Book Publishing, Nashville, TN
2001 Augusta Chronicle - Newspaper Release. Augusta, GA
2001 Augusta Chronicle - Newspaper Release. Augusta, GA
1997 Finalist - Painting “Weary Drowsiness”. Yokohama, Japan
1996 Finalist - “Eight Ignorant Judges” Painting. El Grande, Shibuya, Japan
1995 “The Valley of Rhyme” - Best New Illustrator. Tokyo, Japan
2009 Indy Star - Newspaper Release. Indianapolis, IN
2006 “The Valley of Rhyme” - Book Publishing, Nashville, TN
2001 Augusta Chronicle - Newspaper Release. Augusta, GA
2001 Augusta Chronicle - Newspaper Release. Augusta, GA
1997 Finalist - Painting “Weary Drowsiness”. Yokohama, Japan
1996 Finalist - “Eight Ignorant Judges” Painting. El Grande, Shibuya, Japan
1995 “The Valley of Rhyme” - Best New Illustrator. Tokyo, Japan
Professional/Teaching Experience:
I taught art classes in Yokohama from 1995-1999 and periodically teach digital art classes using Procreate.
Exhibitions:
2019 The Times of Rhymes solo show - The Box, Indy.
2010 “Suspended” - Three Person Show. Fort Wayne, IN
2009 Noblesville City Hall - Solo Exhibition. Noblesville, IN
2001 Dunlap Gallery - Solo Exhibition. Augusta, GA
1996 Showing - Tokyo Museum. Tokyo, Japan
2010 “Suspended” - Three Person Show. Fort Wayne, IN
2009 Noblesville City Hall - Solo Exhibition. Noblesville, IN
2001 Dunlap Gallery - Solo Exhibition. Augusta, GA
1996 Showing - Tokyo Museum. Tokyo, Japan
Artistic Influences:
Paintings:
Hans Bellmer, Yves Tanguy, Salvador Dali, Basquiat, HR Giger,
Hans Bellmer, Yves Tanguy, Salvador Dali, Basquiat, HR Giger,
Artist Tags:
intimate, intimatism, surrealism, adamparsonsart, adamparsons, parsonsart, surreal