AdeY flirts us a barrage of compositions which demand an opening of the mind, piercing through the social veil of awkwardness which ensnares and is a web of prejudices in his inaugural American exhibition Uncensored at Gallerie XII. The Transcending of our social impressions of the human body is and the actors contained therein, is successfully accomplished to help illuminate a form more natural yet still retaining that element of human imagination. For the daring to consider the flesh as a plaything demonstrates conclusively the human spirit’s primacy, which flows and moves in defining the ideas which are thereby captured in the media presented.

‘Social Distancing’

The portraitures are each a hidden secret for the subjective viewer to appreciate. And each has its own peculiarly whimsical answer to the riddles contained, however obscure they may be. are you sure? Is a focused instance of this confrontation with human instinct, one which is natural, and yet also one which humorously confronts the male sex and the persona’s own security with themselves. Indeed, this is the general statement in the artworks: can one look past one’s own unexamined conception of nudity and then discover one isn’t alone in being naked?

‘are you sure?‘

The artwork seeks to enliven the viewer with a broader perspective of eros – yet does so tastefully. Which is to say, self-similarly with Lampoon, there is no need for urgent interruption of the senses with shocking genitalia. The rush from the body to confront what is intimately private, almost for its very sake, distances and distracts the subject from the concepts being received. This is the hallmark of refinement: to lift the mind as it receives stimulation from the senses towards a realm of eternity – where only humans and God Almighty can access the non-sensible idea.

‘Lampoon’

‘Foraging’

We are dealing, therefore, with coyish playfulness. An artist who revels in the sumptuous contortions possible to be imagined, nay, created. Foraging is my favorite of the group, with its cheeky rotund cheeks crafting the sublime geometry of the curve in human form. No doubt the behinds of mankind – particularly of woman – have been meditated upon before; but in such carefree relishing of how they can possibly appear, almost as keystrokes or a xylophone to be gently hammered to usher out more hilarious tuning with the cosmic ends of natural beauty? It is to certify that this is what good art demonstrates: the joy for being able to move playfully according to one’s own ends.