Defiance Gallery - Adameitis, Angus

Angus Adameitis

Sculpture

Born Sydney in 1979,

Angus Adameitis completed a Bachelor of Fine Arts degree at the National Art School, Sydney in 1999. He started exhibiting at Defiance Gallery in 2000 in group exhibitions including The Annual Miniature Sculpture Show.
In 1999 he was a joint winner of the Transfield Prize for Sculpture at Sculpture by the Sea, Bondi and in 2000 was the recipient of the Director's Choice.
In 2000 Adameitis was also awarded an artist residency at Academia Di Belle Arti di Brera, Milan. In 2002 he was selected as the Australian sculptor to partake in the Art Omi international residency, New York.
Angus has exhibited regularly at Defiance Gallery and many regional galleries.
In 2005 he had his first solo exhibition at Defiance Gallery which was great success.
Angus’ sculptures are held in the collections of the Poughgipsie Sculpture Park, New York and New England Regional Art Gallery as well as private collections.

"Exploring the significance of unconventional space through the use of direction and force, these works have progressed from an on going use of cmpression.
Emphasis on the base distinctively forms a sense of grounding which incorporates mass, weight and balance."
Angus Adameitis 2005

‘Angus Adameitis is one of the most adventurous artists among a new generation of impressive and important sculptors. The apparently casual way the elements of Angus’ sculptures are put together belie a considerable ingenuity, that ingenuity is not just a technical skill but also has an impact on the freedom he can exercise in arranging the elements in the works to dramatic effect. His sculptures are voluptuous, using the contrasts and interactions between the implied soft; crushed and twisted elements and the more geometric sections as well as a play against the rigidity of the pedestal. Angus’ choice of elements and how he arranges them brings out a sensuality not often seen in abstract sculpture. By contrast so much recent ‘figurative’ sculpture attempting to achieve sensuality often turns out to be cloying. Literalness of figurative sculpture may have become a liability in this regard. The figurative tradition could learn something from abstract sculpture. Matisse and Degas knew the difference. Angus’ contribution to expanding the breadth of expression that can be achieved in the tradition of abstract sculpture is worthy of attention and for other sculptors keeps us on our toes!’ Ron Robertson – Swann OAM.

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