Adam Silverman’s ceramics are getting a lot of attention now, and it’s no wonder. Their surfaces are seductive as glazes crackle, ooze and permeate the ceramic forms with the perfect balance of control and chaos. Aesthetics aside, these wonders are masterful, the result of a depth of knowledge within the chemistry of glazes, experiments gone very right. He is presenting the viewer with a response to nature that is at times unearthly: the textures of coral and barnacles, pure pigmented color (especially in pink and blue) take the viewer to a moment where time stands still – nature, decay and a knowledge of a history across disciplines present the viewer with a seductive interplay of form, scale, color, and surface. His work remains unique, but calls to mind such masters as Ken Price, Toshiko Takaezu, Rose Cabat and Brian Rochefort, with nods to Yves Klein and Sterling Ruby. Silverman is currently making what many are calling the most exciting work of his career and pushing his medium forward, spearheading a movement to bring ceramics full-throttle into the art world.
With his studio in Glendale, he is currently showing with Cherry and Martin in Los Angeles (his exhibition is up now through May 14), Friedman Benda in New York (where his first solo show in NY opens on May 5), and Tomio Koyama in Japan.
Installation view, Cherry & Martin, Los Angeles, March 2016
@adamsilvermanstudio, @cherryandmartin
The artist in his studio.
Image courtesy the debut issue of Galerie Magazine, April 2016 (via the artist’s website)
