I just discovered Adam Norton while searching for contemporary art and science links: Norton makes work about rockets and meteorites, improbable crop circles, retro nuclear technology and how to survive in the event of finding oneself in an inhospitable situation. He can teach us—in the event of the world gone mad or technology turned bad—how to make suitcases float, how to live for a fortnight within a wardrobe, and how to hide in the foothills of Everest, the sandy enclave of Cronulla Beach or the pages of a lined A4 sheet. His work is comforting, it is useful and it comes from a genuine and beguiling paranoia. He doesn’t believe us to be safe, or ‘alone’ and he will continue stocking supplies, stitching the camo and reversing the heels of his shoes in readiness for the invasion. I never tire of finding contemporary artists that incorporate their scientific interests into works of art. The Roswell timeline is really interesting. I like how he explores alternate realities and histories.
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I just discovered Adam Norton while searching for contemporary art and science links:

Norton makes work about rockets and meteorites, improbable crop circles, retro nuclear technology and how to survive in the event of finding oneself in an inhospitable situation. He can teach us—in the event of the world gone mad or technology turned bad—how to make suitcases float, how to live for a fortnight within a wardrobe, and how to hide in the foothills of Everest, the sandy enclave of Cronulla Beach or the pages of a lined A4 sheet.

His work is comforting, it is useful and it comes from a genuine and beguiling paranoia. He doesn’t believe us to be safe, or ‘alone’ and he will continue stocking supplies, stitching the camo and reversing the heels of his shoes in readiness for the invasion.
I never tire of finding contemporary artists that incorporate their scientific interests into works of art. The Roswell timeline is really interesting. I like how he explores alternate realities and histories.

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