Jamie Adams is best known for his figurative works which largely function as autobiographical, personal memoir. He likes to think of them as visual correspondences, or love letters, to family and friends. The selection of works in the Dollhouse show, completed over this past year, emanate from his conversations with his daughters, where he asked them questions about how they would like to see themselves and others represented. An assortment of studies and smaller works are also included in this show, which represent the artist’s ‘behind-the-scenes’ studio exercises and preparations for larger works.
The viewer may recognize some of his Dollhouse characters as they are drawn from his earlier Jeannie and Blondie Bubba series. Ultimately they are developed through an amalgam of sources: vintage films, photographs, Baroque paintings, and sculptural maquettes. In order to probe contemporary notions of identity, the artist states “I construct them to consciously mirror cinematic effects—its projective nature, image-flow, use of montage, and celebrity personae—as a way to insinuate a complication or disturbance.” Similarly, the environments these characters inhabit are derived from such diverse sources as Michelangelo Antonioni’s film L’Avventura (1960) and Otto Preminger’s Bonjour Tristesse (1958)); the artist’s own architectural ‘dollhouse’ model of a beachside cabana, and the artist’s studio patio.