Artist based in Mount Vernon, NY
Adam Linn, portrait of the artist
Tell us about yourself, what's your background?
I am from Pittsburgh, PA. I love my home. It is a place between places and one that lacks a sort of regional definition. It is not east coast, it is not midwest, but somewhere in between. The roads and bridges wind around the topography of the city. The streets curve and tangle like the tentacles of an octopus. I think this is partially why I am so fascinated with curved line and exaggerated form. Uber called Pittsburgh the black diamond of driving and that is why they developed their self driving cars there. They believed if the cars could drive themselves there then they could drive themselves anywhere.
Squeeze Through (2023), Colored pencil, watercolor and water soluble crayon on paper mounted panel, 48" x 36"
I grew up always drawing. I loved animals and cartoons. My grandma would line her basement staircase with my drawings of animals. I always liked to draw the big cats. Leopards and Cheetahs and Tigers descended down her wood veneer paneled walls and shag carpeted staircase. It just felt natural for me to pursue it and my love was confirmed when I was able to attend the public school CAPA in Downtown Pittsburgh's cultural district. Here I had academics in the morning and visual art classes in the afternoon. I often stayed late after school to continue working on art. It was always what I felt most comfortable doing.
"I channel the sensations of being molded and changed from the inside out in an almost caricature-like way. The imagery in this show depicts a lot of door and lock mechanisms, hybrid animal parts and fantastical proportions or exaggerations."
Tangle Crawler (2023), Colored pencil, watercolor and water soluble crayon on paper mounted panel, 48" x 36"
What are you currently working on and where did the inspiration for it come from?
I just finished up a body of work for my 2nd solo exhibition with Steve Turner in LA (opening August 3rd). This body of work feels more aggressive, confident and personal than previous works. I found inspiration from diving back into my personal medical history and addressing the deformity in my skull with which I was born. I am not interested in exploring these themes literally; instead, I channel the sensations of being molded and changed from the inside out in an almost caricature-like way. The imagery in this show depicts a lot of door and lock mechanisms, hybrid animal parts and fantastical proportions or exaggerations. There is a sort of cartoonification happening in the work where normal things become perverted and turn into uncanny symbols of sexuality, the body and gender.
Studio view
Innovation does not only happen in the field of technology — it occurs everyday in a creative practice. What do you do for inspiration?
I think I heard a Steven Spielberg quote once that he gets his best ideas when he is driving around in his car. I usually get mine at the same time, in transit between locations. I love driving. The inspiration comes when I am not looking for it and when my brain is operating in a space between active and passive--a sort of autopilot moment. If I try to search for the inspiration it will not come. It finds me, not the other way around.
Viewing Room, Marvin Gardens, Ridgewood, NY
Describe your practice and process. Where do ideas start for you? In the studio or being in the world?
My experiences and memories, humor, being out in the world, doing the unglamorous in between tasks or behaviors, exploring the works of artists I love, going to shows in the city, etc.
Studio view
How do you make your work, does it start with a sketch?
It always starts with quick sketches in my sketchbook. These are made up of overlapping lines, quick wrist movements and little planning. These are moreso intuitive. Sometimes they are based off of random notes I have written down in the notes on my phone. Lately I have been taking these sketches and then working out the color/lighting on my Ipad in procreate. This helps me change things around without having to do all this erasing. I can also add layers or hide layers to see different options when it comes to color and composition. When taking these to the final paper mounted panel, I start with watercolor pencil and light washes of color to map out the drawing. Even though I start these with a plan I almost always end up changing things around all the way until the end. The works continue to evolve almost to the point when they are finally finished.
Studio view
Many artists live by their routines, do you have your own rituals inside and outside of the studio? What does that look like for you?
Absolutely not. Every day in the studio is different and my day really depends on what I am working on in the moment. Some days are more productive than others. Some days I get stuck and want to start a piece over or throw it in the trash. The only continuous theme is that I keep going, keep moving forward, and keep trying to find something exciting in the work.
Who are your biggest influences?
Hendrick Goltzius, Lisa Yuskavage, Trenton Doyle Hancock, Martin Wong, Wanda Gag
Vim (Jessica Rabbit), 2024, Colored pencil, water soluble crayon and watercolor on paper mounted panel
Are there books or films that are an important source of inspiration?
Movies: Marie Antoinette, Charlie's Angels (the cameron diaz, lucy liu, drew barrymore version, duh), The Triplets of Belleville, Young Adult
Books: The Story of Ferdinand, The Queer Art of Failure, Lolita
What is the best advice you would give to other artists?
Don't be boring
Victory Lap (2023), Colored pencil, watercolor and water soluble crayon on paper mounted panel
Stay up to date with Adam Linn
Website adamlinn.net
Instagram @paris_of_appalachia