Justin Adian’s core practice involves stretching oil enamel- or spray painted canvas around foam cushions, often combining two or more shapes to form composite wall-mounted reliefs. His unfamiliar and colorful shapes are rooted in the Minimalist tradition of Ellsworth Kelly and Kenneth Noland, though Adian’s forms contrast sharply with the rectilinear frames and precise geometries of Minimalism. Adian’s process is an attempt to give colors a three-dimensional form without actually leaving the mounting wall and becoming a freestanding sculptural object.