Adam Gillam

Adam Gillam

All Elbows, 2020

Oil, leather, and webbing on cardboard, 39 x 28cm

Adam Gillam

Guaranteed, 2020

Oil and tape on jesmonite on board, 30 x 25cm

Adam Gillam

Yellow Wall, 2020

Oil and tape on board, 25 x 31cm,

Adam Gillam

Tudor, 2020

Oil and wood on felt, 37 x 26 cm

Adam Gillam

Not What, 2020

Oil and jesmonite on cardboard, 39 x 34cm

Adam Gillam

Chuffer, 2020

Oil on canvas, 36 x 26cm

Adam Gillam

Sniff, 2020

Oil on canvas, 36 x 26cm

Fully Fashioned, 2020

Oil and jesmonite on board, 32 x 32cm,

Adam Gillam

Big Gap, 2020

Oil on board, 33 x 30cm

Adam Gillam

Clamp, 2020

C-type on aluminium, 30 x 37cm

Adam Gillam

Naughty Nautical, 2020

Oil on card and jesmonite, 41 x 33cm

Adam Gillam

Fester, 2020

Oil on hessian, jesmonite and millipute, 40 x 31cm

Adam Gillam

Hands, 2020

C-type on aluminium, 30 x 37cm

Adam Gillam

In Constant Use, 2020

Installation view

Adam Gillam

In Constant Use, 2020

Installation view

In Constant Use, Tintype,London

Adam Gillam

In Constant Use, Tintype, London, 2020

Installation view

Adam Gillam

Yellow, 2019

Card, jesmonite, oil paint, 42 x 38cm

Adam Gillam

I’m Here,, 2019

C-type on Aluminium, 31 x 37 cm Edition of 5

Adam Gillam

This Is Nothing, 2017

C type print, Edition 1/5, 50.5 x 60cm

Adam Gllam

Neighbour Six, 2015

Aluminium, silicone, spray paint, rope, mirror, treasury tag
66 x 37cm

Adam Gillam

Neighbour Three, 2015

Cardboard, jesmonite, oil paint, wood 40 x 30 cm

Adam Gillam

Neighbour Two, 2015

Cardboard, jesmonite, gloss paint, oil paint, wood, rubber ball 46 x 37cm

Adam Gillam

Neighbour One, 2015

Cardboard, jesmonite, spray paint, oil paint, graphite 35 x 20cm

Adam Gillam

Neighbour Eight, 2015

Aluminium, moulding wax, silicone, rope 33 x 36cm

Adam Gillam

Neighbour Five, 2015

Wood, plaster, spray paint
33 x 9 x 14cm

Adam Gillam

Neighbour Four, 2015

Card, jesmonite, gloss paint, spray paint 37 x 30cm

Adam Gillam

Neighbour Seven, 2015

Aluminium, hessian, jesmonite, gloss paint, cardboard, treasury tag 43 x 38cm

Adam Gillam

Stop Bugging Me – installation view, 2015

Adam Gillam

Stop Bugging Me – installation view, 2015

Adam Gillam

Untitled 1 (top), Unitled 2 (btm), 2013

Metal, screws, 24 x 30cm, Metal, screws, glass beads, 22 x 35cm

Adam Gillam

In Constant Use, Tintype, London, 2020

Installation view

Adam Gillam

Twinrider, 2013

Acrylic, modroc, gloss paint, bead, fabric 33.5 x 51 cm

Adam Gillam

Outline, 2013

Aluminium armature, string, brass, metal fixings 30.5 x 38 cm

Adam Gillam

Windeye, 2013

Wood, hessian, plaster, beads, paint, chinagraph marker, marker pen, string, plastic letter 68 x 62 x 64 cm

Adam Gillam

Nessy 8, 2013

Acrylic, beads, dowls, chinagraph markings, paper binders, foam, modroc, paint, tape, graphite rubbing 125.5 x 76 x 7 cm

Adam Gillam

Crazycarli, 2013

Acrylic, dowls, paper binders, painted paper, chinagraph marking, bead, peg, rubber ball, aluminium rods 125.5 x 89 x 17 cm

Adam Gillam

Crazycarli, 2013

Detail

Adam Gillam

Codicote, 2013

Aluminium, bulldog clips, beads, bolts, stationery tags, paint, wood and plastic 267 x 30 x 2 cm

Adam Gillam

Codicote, 2013

Detail

Adam Gillam

Broadsheet, 2014

Installation view - Conversations Around Marlow Moss, &Model

Adam Gillam

Broadsheet (detail), 2014

Installation view - Conversations Around Marlow Moss, &Model

Adam Gillam

Plinth, 2014

Installation view - Conversations Around Marlow Moss, &Model

Adam Gillam

Detail, 2014

Installation view - Conversations Around Marlow Moss, &Model

Adam Gillam

Broadsheet (detail), 2014

Installation view - Conversations Around Marlow Moss, &Model

Adam Gillam

A pink and unnatural fever (Crazee Golf at Tintype), 2012

Plaster, curtain wire, hairband, 54.5 x 31.5 x 28 cm

Adam Gillam

Adam Gillam, Joe Orton, Kenneth Halliwell, Ancient and Modern Gallery, 2011

Installation view

Adam Gillam

Untitled, 2011

Acrylic, vinyl, wood, enamel, paint, 51.5 x 55cm

Adam Gillam

Very Peculiar Orders, 2011

Acrylic, string, door stops, enamel, 54 x 68 cm

Adam Gillam

Eighteen, 2010

Adam Gillam

Eleven, 2010

Adam Gillam

Seventeen, 2010

Adam Gillam

The Way We work Now - installation view, Camden Arts Centre, 2005

Mixed media

Adam Gillam

The Way We work Now - installation view, Camden Arts Centre, 2005

Mixed media

“I am interested in fabricating structures that operate as a means to view and frame actual space, surroundings and real time encounters.”

Adam Gillam’s delicate structures have an impromptu quality, akin to a makeshift moment given form. His work is balanced and nuanced; scraps of material, like scraps of time, are assembled in an inventive, bricolage fashion.

Gillam improvises with different materials, and the quality of those materials and the act of working with them determines the end result in a particularly lucid way. “We are given a work that has been made step by step, of which we see all the steps at once.” (Melissa Gronlund) The process of making is both a method and an interpretive tool. Works emerge from a day-to-day engagement with utilitarian materials and what Gillam calls his ‘scatty pragmatics’ approach.

 

Born in the UK in 1970

Lives and works in London

Education
1994-1997
MA Painting, Royal Academy Schools, London
1991 – 1994 BA, Painting, Liverpool John Moores University, UK

 

Solo Exhibitions

2020
In Constant Use, Tintype, London

2015
Stop Bugging Me – Frame 1: Adam Gillam, Tintype, London

2013
Ideal Paste, Tintype, London

2008
I am definitely coming for longer if I come again, KLERKX, Milan

2007
Art is a cupboard, Keith Talent, London

Group Exhibitions

2019

More Gravy!, Tintype, London

1d for Abroad, Tintype, London

2017
Work Work, curated with Jo Addison and Mark Harris, and showed in,a group show of 26 artists
Im In The Garden, Foal Art, Ryde, Isle of Wight, curated by Joanne Hummel-Newel
The Order of Things, The Wilson, Cheltenham Art Gallery & Museum, curated by Andrew Bick, Jonathan Parsons, and Katie Pratt

2014
Conversations Around Marlow Moss, Curated by Andrew Bick and Katrin Blannin, &Model, Leeds
Against Nature, Camberwell Space, London

2013
This-Here-Now, noformat, London

2012
Crazee Golf, Tintype Gallery, London
Curator’s Egg, Anthony Reynolds Gallery, London

2011
Construction and it’s shadow, Leeds City Art Gallery
Melanchotopia, Witte de With, Rotterdam
Just Photography, Martos Galleery, New York
Adam Gillam, Joe Orton, Kenneth Halliwell, Ancient and Modern, London

2010
Z(A)RT, curated by Jan Hoet, ABTART Gallery, Stuttgart
The Thought of Stuff, Royal Society of British Sculptors, London

2009
Reconstructing the old house, The Nunnery, London and Ruskin Gallery, Cambridge
Cortez Arrives, Herbert Read Gallery, Canterbury
Adam Gillam, Sarah Mackillop, MOT International, London
Brussels Biennial 1, Show me don’t tell me, Witte de With, Rotterdam

2006
Wandering rocks, Gimpel Fils, London

2005
The way we work now, Camden Arts Centre, London
This show is ribbed for her pleasure, Cynthia Broan, New York

2004

Doubtful pleasures, APT Gallery, London
Eating at another’s table, Metropole Gallery Folkstone

2003
With pleasure, IOTA Gallery, Ramsgate

2002
The Map is Not The Territory, England and Co, London

Residencies/Fellowships

October 2004                   Triangle Artists Workshop, New York City

May 2004                        Artist Residency, Metropole Galleries, Folkstone, Kent

August 2003                    Braziers International Artist Workshop, Oxfordshire, UK

1998 – 2000                     City and Guilds of London Art School: Research Fellowship

Publications

Melanchotopia, published by Witte de With, Rotterdam, September 2011

Reconstructing the Old House, published by Anglia Ruskin University, ISBN 978-0-907262-73-2

(Z)Art, curated by Jan Hoet ISBN 978-3-942102-00-1

Brussels Biennial, published by Walter Koenig. ISBN 978 – 3 – 86560 – 555 – 9

I am definitely coming for longer if I come again. Text by Melissa Gronlund.

ISBN  978-1-85721-387-4

Art is a Cupboard. Keith Talent Gallery. Text by Mark Beasley: ISBN 978-1-85721-379-9

The Way We Work Now Published by Camden Arts Centre ISBN 1 900470 49 7

The Map Is Not The Territory Part 2 England & Co (ISBN 1 902046 19 6)

The Map Is Not The Territory, England & Co (ISBN 1 902046 129)

Selected reviews/interviews

http://www.saturationpoint.org.uk/Order_of_Things.html

Time out  http://www.timeout.com/london/art/event/270342/crazee-golf

This is tomorrow http://www.thisistomorrow.info/viewArticle.aspx?artId=1484&Title=Crazee%20Golf

Melanchotopia in Frieze issue 144 (Jan-Feb 2012) by Esperanza Rosales

Review by Andrew Bick in Kultureflash: http://www.kultureflash.net/eventDetail.aspx?Evt=583-Adam-Gillam-+-Joe-Orton-&-Kenneth-Halliwell

Review by Skye Sherwin: http://www.anothermag.com/current/view/751/Joe_Orton_and_Kenneth_Halliwells_library_books

Review by Morgan Quaintance: http://www.thisistomorrow.info/viewArticle.aspx?artId=658

Review by Caroline McGinn in Time Out, 17th February 2011

Review by Skye Sherwin, The Guardian Guide, 21/1/2011

Review By Alice Jones, The Arts Diary, The Independent, 8/1/2011

The Art Newspaper, December 2010

Dazed, February 2011

This is Leicestershire 31/1/2011 http://www.thisisleicestershire.co.uk/news/Orton-inspired-sculptures-London/article-3161616-detail/article.html

Reviewed by Maria Fusco in Frieze, April 2011, page 130

(Z)Art   http://www.z-art.info/pressestimmen.php

I am definitely coming for longer if I come again, reviewed by Ginevra Bria in www.exibart.com , 7th January 2008.

Interview with Caryn Coleman on Suicide Girls June 2007

Brooklyn Rail “Letter from London” Sherman Sam May 2007

(http://brooklynrail.org/2007/5/artseen/letter)

“What Does It All Mean?” Adrian Searle, The Guardian, 26.07.05

“Work Experience” Sarah Kent, Time Out 24.08.05

Pick of The Week, The Guardian July-August 2005

Metro, Monday 25.07.05

“The DIY is cast” Nick Hackworth, Evening Standard 22.07.05

Alison Oldham, Ham-high, 12.08.05

Wandering Rocks reviewed by Helen Sumpter, Time Out 31 01 08