Adam Cohen, ‘Dissonance’, 2014, Carrie Haddad Gallery
Adam Cohen, ‘Dissonance’, 2014, Carrie Haddad Gallery
Adam Cohen, ‘Dissonance’, 2014, Carrie Haddad Gallery
Adam Cohen, ‘Dissonance’, 2014, Carrie Haddad Gallery
Adam Cohen, ‘Dissonance’, 2014, Carrie Haddad Gallery
Adam Cohen, ‘Dissonance’, 2014, Carrie Haddad Gallery
Adam Cohen, ‘Dissonance’, 2014, Carrie Haddad Gallery

36 x 36 inches on stretched canvas, signed and dated on reverse
Complimented with a black stained walnut Larson-Juhl floater frame

Boldly colorful abstract impasto painting on canvas, splashes of deep orange, red and blue on a predominately white surface.

A painting by Adam Cohen is like a sudden burst of light. Vision is dazzled by a surface alive with color, swarming with incident. For Cohen’s brush is versatile. Dabbing, smearing, dripping, splashing paint onto the canvas, he creates a variety of textures equal to the variety of his reds and yellows and greenish blues. As you approach the canvas, it feels as if it were coming forward to meet you, to immerse you in a field of visual energy. Stepping back a bit we see that the luminosity of his colors—above all, his passages of white—owe much to the contrast provided by patches of dense, lustrous black. In fact, Cohen often applies this hue before adding lighter colors. And sometimes, as in Mind Map, 2014, the uppermost marks include thin, sweeping streaks of black. Thus his joyously high-keyed images emerge from darkness, as day emerges from night. Beginning and ending with the same color, he invites us to see the passage of time in images that, on first encounter, gather us into a single moment: an immediate and all-enveloping now.

In 2012, Adam Cohen started to make abstract paintings, applying pigment in wide, vigorous strokes, creating colorfully intricate tapestries with sharp contrasts of black and white. The textures of his paintings have changed over the years as black as almost disappeared from his palette. He now cuts the still-wet paint with a palette knife and other instruments to create vascular patters. The results of these developments are paradoxical, for Cohen's imagery is now more vibrantly physical than ever and, at the same time, more richly atmospheric.
Adam Cohen is a second time finalist at the Art Olympia International Competition in Tokyo, Japan this year where he was one of 80 artists selected out of 4,200 entries. In 2016, he was the recipient of the International Art Prize Giuseppe Gambino, Venice Art Prize in Venice, Italy.
He has shown his work in the US, and most recently in Amsterdam and Venice.

Signature: Verso

About Adam Cohen