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A. Moret - Writer and Art Critic

Lisa Adams- Art Scene (February 2010)

Curated by Andi Campognone at the Riverside Art Museum, the group show Edenisitic Divergence examines the role of an ever-changing landscape through the critical and diverse lens of female artists Lisa Adams, Kimber Berry, Hollis Cooper, and Rebecca Niederlander.  As the title suggests, Edenisitic Divergence identifies a departure from an idyllic world and an entrance into one tainted by pollution, global warming, and destruction.  Upon entering the exhibition space the viewer is consumed by a feeling of other worldliness as Rebecca Niederlander’s contorted wire sculptures that drape the museum space like a nether world jungle- the wires twist and contort and nearly collapse onto themselves as they dangle from the exposed ceiling.  The installation is a distinct departure from the hanging gardens of Babylon and is the first indication that this environ is a microcosm for the rest of the natural world.  Kimber Berry’s installation of shiny, Technicolor paint basks in a juvenile luster as the installation creeps off the walls and onto the floor.  But perhaps the most arresting works are those of Lisa Adams whose large scale panels “Convocation” and “Given that All Things are Considered Equal” are the largest works the artist has ever created. The overlapping paint swatches weave a visual tapestry, which plays with the figurative renditions of aviary and plant life.  On the surface Adams’ works are beautiful, delicate, and blossom in their own sense of wonderment. They are living and breathing organisms, as though an umbilical cord runs through them connecting a narrative and rigorous practice.   The works are vessels that are activated by the viewer whose innate present-ness enlivens the narrative once more.  The driving narrative in her works may be that life is driven to persist despite the destruction imparted by the hand of man and decay of nature, but the vision of life will change from one day to the next.