It’s a little past 3AM on a Thursday morning. We’re sitting across each other in his sparsely furnished South Slope studio. Around us: quasi-floor-to-ceiling paintings on gessoed wooden panels — two unfinished, all looming overhead like a congregation of sacred idols. It’s been years since he’s touched them.
But according to Adam Joumal Echahly, these works haven’t been put out to pasture just yet. “They’re not done,” he explains, “I’ll get around to finishing them.”
Until then, he’s on the frontier of a relatively new method of painting, and he’s using an apparatus that he characterizes as an extension of his mind. With deep fondness (and an equally deep voice), he tells me its utility translates his ideas with the speed and precision that his imagination demands. By the same token, he’s uncovering inventive ways to manipulate the medium, subsequently pushing its boundaries. Behold: symbiosis at its finest.
But before the big reveal, let’s circle back to the start.
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