![]() | Ripple Effect 14” x 49”, graphite drawing |
| Artists Choice at Atlantic Gallery | Jan 22, 2008 | - | Feb 5, 2008 |
| The perspective of artists on other artists is often very personal. Their own creative explorations and careers inform their views. Are they more or less influenced by museum curators, gallery trends, and art critics than others? Do they gravitate... |
| Posted: 2007-12-12 | |
Artist’s Statement:
A fundamental part of the water system, wetlands act to filtrate by slowing the flow of water, cleansing it as it passes, and allowing it to revitalize the water table. They serve as a natural barrier to flooding and a buffer to storm damage. Given that powerful hurricanes impact North America, it is vital to promote wetlands preservation. Yet these indigenous areas are perceived as wastelands, misunderstood or ignored. Ineffectual for commercial production and devalued because nature does not suite human purpose. People exploit these areas, attempt to deform them and even evade laws designed to protect these sensitive areas. I draw wetlands because it is one of the few remote places left to eastern North Carolina. The quietude of these spaces reveals a unique relationship, a conversation if you will, where a place speaks to me. These landscapes reveal a complex relationship with a locale that becomes a translation of an inner landscape. Because “Place” has the capacity to expose our spiritual connections, it echoes our psyche as it becomes autobiographic - a reflection of those who shape it. Our beliefs, or lack thereof, shape how the land is perceived, managed, or exploited. The marks left on the land remain as relics of the extremes of our reverence, sentiment, or indifference to the environment. Biography Kelly L. Adams was born in Bath, NY, and raised in Raleigh NC. She earned a Bachelor of Fine Arts and Master of Fine Arts in Painting from East Carolina University and has been in her current position at the East Carolina University School of Art and Design as Media Center Director since 1997. | |
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