Adam Longatti

Definition, A Sense Of Place Fine Art, June 27, 2020

Sky Diary, April 1st through May 1st 2020
oil on 16 panels
4”x11” each

Sky Diary, April 1st through May 1st 2020
Details

This body of collected works is the product of plein air experiments from California’s Central Valley. These are representational paintings using direct observation of the seemingly intangible: mirages, air, and light.

Crop Dusting Flagger
oil on Raymar canvas board
5” x 18”
2020

Transient Composition
oil on Raymar canvas board
9″ x 12″
2020

Red Barn Mirage
oil on panel
6”x8”
2020

Central Valley Mirage
Oil on Panel
16”x20”
2020

Industry Mirage
watercolor on paper
14”x14”
2019

Distant Train Cars
watercolor on paper
4”x4”
2020

Horizontal Composition
oil on Raymar canvas board
9”x12”
2020


I have spent the last few months exercising unused muscles.  Imagine yourself doing a push-up by systematically eliminating the physical steps required to perform an actual push-up.  This is the process in which I have been working towards in this body of work. 

I have been applying traditional mediums as oil paint and watercolor onto two-dimensional canvas, primed boards, and watercolor paper. I am looking beyond obvious illusions of form such as shadow, light, and mid-tone, and more towards a hypersensitive practice of looking at air as form. These are landscape paintings devoid of the recognizable imagery associated with this landscape genre. Our planet’s atmosphere has form and these minute gradations are the content for these paintings.  

Beyond the physical practice of these paintings is an awareness of the geographical place in which I am working from. I live in the Central Valley of California, a place which holds a proven title as the state’s second most polluted air quality after Los Angeles. With over 300 days of a growing season and fed by drastically diverted waterways, the land is dominated by the industry of agriculture. Yet nature is opportunistic and endures regardless of human efforts to create a more efficient and profitable agricultural system through chemical control and environmental change. It’s these areas, the transition areas between nature and industry that sparks my interest. There is a narrative here in the landscape, it is not random or arbitrary but direct and intentional. 

My work is applying direct observation to landscape mirages, air dissipation and light. Its striving to make visible the almost intangible. The artist is present in the work, the paint is applied through compositional decisions, but my efforts are still spoken through what nature dictates. These are images defined by their universal relationships, and in this sense devoid of absolutes. 

— Adam Longatti