The principal characteristic in the work of Adam Shield is unreconciled pictorial planes through layers of texture and figuration, using pliable media such as ink, oil bar, paint and monoprint. Transparent sheets are overlaid to compress and create the impression of a view into a dream sequence. This technique of using multiple panels is referential to Adam’s long-standing fascination with billboard imagery and comic book layout. Both suggest repetition and sequence, which Adam uses to create holistic imagery of a liquid shape-shifting world through superimposition. 


Adam’s work immediately makes us think of Raymond Pettibon’s early comics, which he found to be embedded with a stark sense of existential fear, together with Pettibon’s technique of framing narrative through the use of structurally prohibitive modes of image-making such as bars, grids and restricted apertures. Also, to Philip Guston’s politically charged 1960s Nixon cartoons, in which the same exaggerated character is repeated across multiple drawings and narratives to expose the political landscape of the day.