INFRARED SPACETIME
LIGHT YOU CAN’T SEE, DRAWN BY THE MOVING CAMERA
Infrared film sees what the eye can’t. Living leaves and grass glow white, the sky turns dark, and a camera moving through the landscape draws it as lines of light.
The first infrared Spacetime Paintings were made on black-and-white infrared film from a moving car in the Niagara region of Upper Canada, before 2004. In 2013 Adam picked the process up again on a drive that ran from the bush outside Geelong, Australia, to the Nevada desert, composing across four dimensions: the frame, and the stretch of time each exposure holds.
Among them is Lincvolt Nearing Lightspeed: Neil Young’s 1959 Lincoln Continental, rebuilt as a clean-energy proof of concept, crossing Nevada while the desert streams past. The next day, on the same road, came Wave of Constant Change, where the highway holds its shape and everything around it flows.
All 15 pieces are available as signed limited editions of 25, each with a certificate of authenticity, and as open-edition prints.
Bare trees along the edge of a field, with white clouds pulled across the sky by the motion of the drive. One of my early spacetime paintings, shot on black-and-white infrared film from a moving car on the back roads of the Niagara region, before 2004. It goes back to the school bus: as a kid I'd stare out the window at the light in the woods, and you could only fix your eyes on something for a moment before it was gone. Infrared turns the living leaves and grass white and the sky dark, so the trees become lines drawn by the drive.
Open edition: 8x10 in. or 16x20 in. print on metallic high-gloss photo paper.
Limited edition of 25: 5x7 in. metallic print face-mounted in a 1.25 in. deep acrylic block with polished edges, freestanding. Signed and numbered.
Limited edition of 25: 30x24 in. or 37x30 in. print on metallic photo paper, face-mounted under acrylic on a rigid backing with a hidden hanging cleat. Each size is its own edition of 25. Signed and numbered.
Every limited edition comes with a certificate of authenticity and a hand-signed note from Adam.
A leaning telephone pole at a bend in a country road, the fields streaming away toward the horizon. One of my early spacetime paintings, shot on black-and-white infrared film from a moving car on the back roads of the Niagara region, before 2004. It goes back to the school bus: as a kid I'd stare out the window at the light in the woods, and you could only fix your eyes on something for a moment before it was gone. Infrared turns the living leaves and grass white and the sky dark, so the trees become lines drawn by the drive.
Open edition: 8x10 in. or 16x20 in. print on metallic high-gloss photo paper.
Limited edition of 25: 5x7 in. metallic print face-mounted in a 1.25 in. deep acrylic block with polished edges, freestanding. Signed and numbered.
Limited edition of 25: 30x24 in. or 37x30 in. print on metallic photo paper, face-mounted under acrylic on a rigid backing with a hidden hanging cleat. Each size is its own edition of 25. Signed and numbered.
Every limited edition comes with a certificate of authenticity and a hand-signed note from Adam.
A wide field scattered with bare trees, the ground drawn into long sweeping lines and the light burning along the horizon. One of my early spacetime paintings, shot on black-and-white infrared film from a moving car on the back roads of the Niagara region, before 2004. It goes back to the school bus: as a kid I'd stare out the window at the light in the woods, and you could only fix your eyes on something for a moment before it was gone. Infrared turns the living leaves and grass white and the sky dark, so the trees become lines drawn by the drive. I first showed this one in 2010 as Space-time Painting No. 005, Orchard, Ontario.
Open edition: 8x10 in. or 16x20 in. print on metallic high-gloss photo paper.
Limited edition of 25: 5x7 in. metallic print face-mounted in a 1.25 in. deep acrylic block with polished edges, freestanding. Signed and numbered.
Limited edition of 25: 30x24 in. or 37x30 in. print on metallic photo paper, face-mounted under acrylic on a rigid backing with a hidden hanging cleat. Each size is its own edition of 25. Signed and numbered.
Every limited edition comes with a certificate of authenticity and a hand-signed note from Adam.
Open farmland under a wide sky, the furrows and fence lines blurred into one long motion. One of my early spacetime paintings, shot on black-and-white infrared film from a moving car on the back roads of the Niagara region, before 2004. It goes back to the school bus: as a kid I'd stare out the window at the light in the woods, and you could only fix your eyes on something for a moment before it was gone. Infrared turns the living leaves and grass white and the sky dark, so the trees become lines drawn by the drive.
Open edition: 8x10 in. or 16x20 in. print on metallic high-gloss photo paper.
Limited edition of 25: 5x7 in. metallic print face-mounted in a 1.25 in. deep acrylic block with polished edges, freestanding. Signed and numbered.
Limited edition of 25: 30x24 in. or 37x30 in. print on metallic photo paper, face-mounted under acrylic on a rigid backing with a hidden hanging cleat. Each size is its own edition of 25. Signed and numbered.
Every limited edition comes with a certificate of authenticity and a hand-signed note from Adam.
A stand of trees blazing white against the dark, the ground beneath them curling like smoke. One of my early spacetime paintings, shot on black-and-white infrared film from a moving car on the back roads of the Niagara region, before 2004. It goes back to the school bus: as a kid I'd stare out the window at the light in the woods, and you could only fix your eyes on something for a moment before it was gone. Infrared turns the living leaves and grass white and the sky dark, so the trees become lines drawn by the drive. I first showed this one in 2010 as Space-time Painting No. 007, Birch Stand, Ontario.
Open edition: 8x10 in. or 16x20 in. print on metallic high-gloss photo paper.
Limited edition of 25: 5x7 in. metallic print face-mounted in a 1.25 in. deep acrylic block with polished edges, freestanding. Signed and numbered.
Limited edition of 25: 30x24 in. or 37x30 in. print on metallic photo paper, face-mounted under acrylic on a rigid backing with a hidden hanging cleat. Each size is its own edition of 25. Signed and numbered.
Every limited edition comes with a certificate of authenticity and a hand-signed note from Adam.
Tall roadside trees and grasses sweep upward like brushstrokes against a dark sky. One of my early spacetime paintings, shot on black-and-white infrared film from a moving car on the back roads of the Niagara region, before 2004. It goes back to the school bus: as a kid I'd stare out the window at the light in the woods, and you could only fix your eyes on something for a moment before it was gone. Infrared turns the living leaves and grass white and the sky dark, so the trees become lines drawn by the drive.
Open edition: 8x10 in. or 16x20 in. print on metallic high-gloss photo paper.
Limited edition of 25: 5x7 in. metallic print face-mounted in a 1.25 in. deep acrylic block with polished edges, freestanding. Signed and numbered.
Limited edition of 25: 30x24 in. or 37x30 in. print on metallic photo paper, face-mounted under acrylic on a rigid backing with a hidden hanging cleat. Each size is its own edition of 25. Signed and numbered.
Every limited edition comes with a certificate of authenticity and a hand-signed note from Adam.