My recent body of work utilizes two dated comic book mini series, Secret Wars and Secret Wars 2 as an analogue to contemplate and digest my thoughts of internet-based visual culture.   The circumstance created in my recent MFA thesis exhibition is the continued convoluted decline of two inadvertently absurd and nonsensical comic series.   Each sculpture-as-character is realized through the Internet’s anti-filter, allowing disassociated characters in and outside of the comic universe to confront each other.  This spectacle explicitly focuses and helps to process my thoughts on decontextualized and repurposed images in blog culture.  These images, set in an infinite stream of already disconnected visual information, are striped of their meaning and remade to fulfill the author’s needs, ready for the virtual world to consume and reinterpret.
             I transform these thoughts through strategy of materials and organization of gallery space.  The constant bombardment of images viewed through a vividly colored monitor is rendered with the saturated colors of modeling clay and glazed ceramic.  In each piece is a small rectilinear ceramic graphic element that I myself repurpose, removing any source information and illustrating them to suite my needs.    The immediacy of new digital information is shown through the briskness of plaster application, the touched aesthetic of the core ceramic vessel and touched surface ornamentation of plastilina.  Emanating from the ceramic core of each sculpture is slow, creeping ooze that moves almost unnoticeably through the gallery.  Over several weeks it advances through protracted time and begins to dry, slowly but continuously changing form, color, and surface.   Ultimately the ooze complicates any tidy resolution that the viewer attempts to assemble and acts as a continuation of the abundant incomprehensibility on the Internet.

Adams Puryear, 2012