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American Focus > Blog > Culture and Arts > Cubist Figures Wade into the Shadowy Depths of Connor Addison’s Allegories — Colossal
Culture and Arts

Cubist Figures Wade into the Shadowy Depths of Connor Addison’s Allegories — Colossal

Last updated: September 7, 2024 12:13 am
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Cubist Figures Wade into the Shadowy Depths of Connor Addison’s Allegories — Colossal
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The Intriguing Art of Connor Addison

Exploring the duality of light and darkness, Barcelona-based artist Connor Addison delves into the shadows of the human mind, a realm often overlooked or deemed unloveable. For Addison, these shadows hold a wealth of meaning and emotion waiting to be brought to light through his art.

Each painting by Addison is a deep dive into the complexities of human relationships and emotions. He starts with a simple question or thought, which evolves into a rich allegory on canvas. Take, for example, his piece “Brothers II,” which explores the dynamics of sibling relationships and the interplay between play and manipulation.

Brothers II
“Brothers II” (2024), 260 x 161 centimeters

Working primarily in earth tones, Addison’s cubist figures are marked by pointed flesh and geometric limbs. By stripping away clothing and facial features, he taps into universal feelings and emotions like love, anguish, and curiosity.

“I like the idea that someone 2,000 years in the future or past would still find a work meaningful and intelligible, perhaps even on an alien planet! Allegory is a powerful thing. Its popularity died as religion fell out of vogue, and we became more literate, but I love a story captured in image. It can say so much more than the word.”

Connor Addison is currently gearing up for his next solo exhibition with Aktion Art in 2026. To keep up with his latest work, follow him on Instagram.

How Long Must This Silence Echo
“How Long Must This Silence Echo” (2021), oil on linen, 140 x 89 centimeters
Mother, Mother
“Mother, Mother” (2021), oil on linen, 150 x 150 centimeters
The Conversation
“The Conversation” (2023), oil on Linen, 260 x 183 centimeters
Becoming Myself Without Any End
“Becoming Myself Without Any End” (2024), 263 x 142 centimeters
Something From Nothing
“Something From Nothing” (2023), oil and watercolor on linen, 400 x 200 centimeters

See also  'The Women Who Changed Photography' Chronicles 50 Trailblazing Artists — Colossal
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