In beautiful abandon Adam Saks’ most recent ink drawings unleash an adventurous delirium of crude seafaring romanticism, grotesque chimeras, serpentine blazonry and shredded script, exotic oddity museums, compendiums of heraldry and emblemata, of ‘Heia, Safari’, disconcerting scenes of torture and colonial fantasies, comics, tattoo magazines, disreputable show girls or military devotional objects.
Compliably he lets the found motifal flotsam collide and clash as if seen through a psychedelic kaleidoscope. Comforting loathing and fearful idylls blur just as appraisingly as appallingly into one another, are painterly collaged, painted off and clinched together all anew.
Even the beholder’s gaze is ravished and tossed about upon these rough paintings – now stranding here, now somewhere other. Motifs wander and slip away, are torn and beaten and bawled out. Adam Saks bares himself with heinous abandon in his pictures, and these crotchety, awkward, nailed-down and ornery, over-packed and gracefully bizarre escapades bear themselves with heinous wantonness: Blood, sweat, and watercolours!