♜ The Loner’s Castle ♜

- Alicia Adamerovich -

VIRTUAL EXHIBITION

3D design by Katerine Dennie-Marcoux
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Projet Pangée is thrilled to present the second iteration of our virtual exhibition titled “The Loner’s Castle”, a collaboration between Alicia Adamerovich (Brooklyn, USA) and Katerine Dennie-Marcoux (Montreal, Canada). As the year progressed with multiple rounds of confinement, we've projected our solitude and despair into the body of a tormented collector, circling around her tourelle-like castle, filled with Alicia Adamerovich's tense graphite drawings and paintings. Lit by flame torches and reddening skies, the surreal and brooding shadows cast by a full moon in Adamerovich's works enhance the collector's conflicted sense of anxiety and wonder.

Alicia Adamerovich

Alicia Adamerovich (b. 1989, Latrobe, USA) lives and works in Brooklyn. She has exhibited in the United States and internationally including a duo exhibition with Sessa Englund with Projet Pangée, a solo exhibition at Fisk (Portland). She was also recently included in several group shows, including Galerie Kornfeld (Berlin), Wild Palms (Dusseldorf), and Kunstraum (Brooklyn).

The objects depicted in Alicia Adamerovich’s highly rendered graphite drawings are projected far beyond their meanings. These selected elements act as binding agents between the tangible world and the ethereal space, revealing pieces of the artist’s identities through the layering of metaphors.

Working with the anthropomorphic qualities of objects while enhancing their surreal potential, Alicia Adamerovich reveals the capacity of the psychological effects environments have on us and our relationships with one another. The small, rendered graphite drawings depict dated decor, textures, flowers, and human forms all coexisting in a flattened dimension, which renders everything as if cut from the same cloth. With a hint of humour, the artist plays with reversibility - of the human figure as object - with an emphasis on anthropomorphism from a feminine perspective. What begins as a conventional still life alters into fetishized objects. Adamerovich’s selection of subjects is linked to memories of her rural upbringing, inviting viewers into a soft and beguiling world by way of cropped glimpses of scenes underscored with equal parts domesticity and eroticism. Her series of precise drawings act as a vehicle for desire, anxiety, and the inevitable to take shape, grasping these areas of tension as opportunities to dive into a space of transition, where feelings of the unconscious meet those of the familiar.

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