This play is a reflection on the (im)possibility of accepting diversity and the other. The fragmented body of the neoplasm—the fruit of unstable conditions—overcomes barriers, loves and denies itself and others, wanders around, forgetting its profession. It frequently and with pleasure divides, goes through dangerous palpation, questions the possibility of contact with the experience of the other. Poorly brought up but very successful, it invites us to a trans-species transition.
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“If you have built castles in the air your work need not be lost; that is where they should be. Now put foundations under them.” - Henry David Thoreau
When
2009
Atticus Adams is a sculptor whose work embodies the transformative power of art to create beauty, meaning, and emotional impact from industrial materials. Using aluminum, bronze, copper, and stainless steel mesh—generally found in screen doors/windows and filters—inspired by memories, he creates abstract fine art pieces, installations, sets, and costumes that sometimes resemble flowers, clouds, and other natural phenomena.
Adams has been the recipient of many awards, including the 2018 Pittsburgh Center for the Arts Artist of the Year; the 2016 Carol R. Brow Creative Achievement Award Nominee; and the 2008 Best in Show, Fiber Arts Guild of Pittsburgh. Recent exhibitions include Mesh Works, Desert Art Collections, Palm Desert, CA; Mesh Lab: The Experiments, The Mine Factory, Pittsburgh, PA; Green Apples with Salt, The Westmoreland Museum of American Art, Greensburg, PA; and “AAP 105 Show,” Carnegie Museum of Art, Pittsburgh, PA.
His formal art training includes stints at Yale, Rhode Island School of Design, and Harvard’s School of Architecture.
