THE SEER

Ah, Tuesday. Normally I lose the notion of time but these last few days have been literally tattooed to my forehead. Opening night for the exhibition was until Friday but the word was spread about a month ago. It happens very often that there is unfinished material and people are already lined up to see it and buy it. They say Mary Boone did this sort of practice and it worked out quite well until it went a little bit too far; apparently a matter of quality versus quantity. But like I said; this is organized chaos, at least for solicited fellows like me. After having a long meeting with the gallery staff I was ready for yet another appointment.

Below a sample of my interview with CB Magazine; my lost loyal followers.

PLAYGROUND opens December 3^rd at M. in Chelsea.

This is not your typical afternoon at Adrian Black´s studio loft located in the heart of New York´s most legendary and chic districts; SoHo, which has seen better times. The once flourishing art scene migrated to Chelsea since the early 1990s. Our host seems to be one of the last of a dying breed; but he´s still willing to take risks. Following one of our most beloved and consistent movements, Expressionism and Neo-Expressionism, Black continues to explore raw emotions and childhood fears encrypted in dreams and visions. He sometimes claims that the paintings are already in his head, almost like pure automatism.

We´ve been invited for tea; red tea that is, which seems quite comforting. The décor is minimal, yet it resembles an early 1930s atmosphere; very Bauhaus-like.

AB:The previous owner had this décor so it would have been very rude to alter it. I have a tendency to establish a sort of connection with the places I live in; if it asks for an evolution then so be it, but if it doesn´t I respect it. If it needs a facelift, then provide it. In the end the place will slowly reveal its true form to you so that you can continue your merry work.”

CB:Some newcomers as well as some connoisseurs could still grow puzzled at the nature of your latest creations. So could you tell before anyone does the tendency to paint rabbits?

AB:It´s a forgotten chapter of my life, that´s all I can say. I wouldn´t want to extend myself on this one to preserve the element of awe but I can tell you that there has been at least one time where you have felt helpless and instinctively ran away. I empower the rabbit; he´s swift and cunning and will keep digging holes. Those who follow it will surely find a realm far more interesting and becoming than the real world.

CB:I see, and this concept was carefully planned or did this come by accident, like the discovery of a new invention?

AB:I never planned to be a seer, but then again I can´t ignore this gift of mine. If I turn my back on it then it will come and knock on my door at the most inappropriate hours. So my role has been carefully encrypted in the canvas. If you are familiar with Tarot Cards you´ll understand why some pieces have an esoteric nature. That´s what I did with Ritual; the Tree of Life helps us to reach spirituality like most religions.

CB:Like the concept of the rabbit in the moon?

AB:The Moon is also a Tarot Card, yet it´s hard to interpret. We all adore it, but boy those it drive us mad, doesn´t it?

CB:Like women?

AB (pauses and laughs) Exactly…

CB:So this new production is charged with a heavy dosage of emotion and symbolism at the same time?

AB:That´s the way I´ve always done things around here; the objective is the more you appreciate it the more ideas you´ll find as the years go by. Otherwise the painting doesn´t feel alive at all.

CB: Which is the beauty of art; it´s like dreams. And as Sigmund Freud once said: "The interpretation of dreams is the royal road to a knowledge of the unconscious activities of the mind."