Cat Problem
oil on linen
60 inches x 40 inches
Price: $6000 USD

adamholzrichter.art

Commentary from Trevor Knapp & Bruno Passos.

From Bruno Passos:

One thing I can assure you, it’s great that you’re getting to know more about Adam Holzrichter’s work through Triptico, but I’m sorry if you haven’t seen his works live. I explain. The computer and cell phone just don’t do his work justice, these little lights that so hypnotize us still can’t capture a decimal of the vigor and vibrancy of Adam’s paintings

To truly understand a color, it is necessary to physically share an environment with it, understand how it takes off or camouflages itself in the environment. And here Adam puts on a show, as Bonnard often did with his yellow self-portraits. By saturating the mid-tone more than the lights and shadows, Adam betrays physics and becomes enamored with poetry, just as Goethe so forcefully proposed.

When I look at “Cat problem” I am absolutely sure that this is the only way to paint what is portrayed there. A person, surrounded by his private world, without any irony, but also without illusion, a portrait that walks deftly between the ridiculous edge of a room full of fat cats and the sacrum of the resigned gaze of those who watch over them. It is the subversive middle way that we have before us, as improbable and magical as the technique applied here, which devotes all its energy and vigor to the mid-tone and, only God knows how, but he does it!

From Trevor Knapp:

It’s comfortable where I find myself sitting, right within the subtle intrigue of a newly opened curtain with countless cats. The woman’s relaxed posture, seated comfortably, with restrained light resting on her skin.

Then I look closer into the scene, the walls… the radiant glow brought forth by the energetic brushstrokes of yellow, oranges, peaches, reds, purples. Even the shadows have this heartfelt and confident luminosity that invites me in.

I love how easily I can be enveloped by Adam’s use of color to describe what is happening before us. I feel that warmth of this inner world and wish to tuck myself away within it. When I see the light pouring in from the outer world of this painting, my immediate sense is to pull back, become Nosferatu, become the hermit and stay within the room, remain vulnerable and naked there.

But that energy of the cold white, with its elusive transparency, invites me to give what I am about to see in the world another chance. The cats embrace it with that natural curiosity, perhaps I shall as well.

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