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What, then, accounts for the mysterious intelligibility of artworks? This question seems to find expression directly and obliquely in Igshaan Adams’ new body of work aptly titled Holy Terrain (2024). As with recent showings – Weerhoud (2024), Lynloop (2024), Primêre Wentelbaan (2023), Vastrapplek (2022) and Desire Lines (2022) – this offering has a distinct weight, a comportment that narrates his search for a meaningful space where the body, indeed the self, can dwell purposefully. In this exhibition, Adams inaugurates a line of questioning that concedes our precariousness to the multiple ways in which we inhabit the world – the ways in which the self can be sanctified anew amidst all sorts of existential harms.
Composed of no less than fifteen artworks, there is in this oeuvre, much like in the previous exhibitions, the ever- present and ever-morphing feature of materiality that operates parallel to a thematic breadth that encircles this work. In a palpable sense, Adams’ work exalts…
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Press Release
What, then, accounts for the mysterious intelligibility of artworks? This question seems to find expression directly and obliquely in Igshaan Adams’ new body of work aptly titled Holy Terrain (2024). As with recent showings – Weerhoud (2024), Lynloop (2024), Primêre Wentelbaan (2023), Vastrapplek (2022) and Desire Lines (2022) – this offering has a distinct weight, a comportment that narrates his search for a meaningful space where the body, indeed the self, can dwell purposefully. In this exhibition, Adams inaugurates a line of questioning that concedes our precariousness to the multiple ways in which we inhabit the world – the ways in which the self can be sanctified anew amidst all sorts of existential harms.
Composed of no less than fifteen artworks, there is in this oeuvre, much like in the previous exhibitions, the ever- present and ever-morphing feature of materiality that operates parallel to a thematic breadth that encircles this work. In a palpable sense, Adams’ work exalts…
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