Fascinated by the nexus of science, philosophy, history and time, Los Angeles based artist, Adam Berg has developed a body of work that investigates the boundaries between traditional art and new media. Berg fuses scientific models with art historical references to create dynamic works exploring perceptual reality, in particular conceptions of evidence and fact. Paintings of accelerators and quantum colliders arrest scientific-technological apparatuses into images of ‘invisibles’ – transforming informational flux to sensations.
Over the past two decades, Berg explored an array of visual transformations that traverse both scientific and digital technologies and the ways in which they impact our vision of reality. From meteorites that fall on the borders of Tel Aviv-Jaffa to polar bears that invade Trevi Fountain in Rome, the subject of Berg's work is ultimately how numb we have become to life's extraordinary occurrences. In a video-sculpture installation titled Entropic Islands Berg re-situates the artwork within an ecological context in which the very concept of evidence is challenged. Through the employment of a wide array of media, including painting, sculpture, drawing and video, Berg probes multiple modes of perception as reflecting our changing experience of reality.
More recently, Berg’s works played with issues of temporality, animality and dwelling as the living conditions through which we define our relation to questions of autonomy and freedom. Animals’ captivity much like the display of artworks in exhibition or living spaces involve a depletion of experience unless redirected and defined within a plane of subjectivity. In works such Endangered Spaces, Wormholes and Consensual Berg invokes a relation to art as based on a conception of deep culture – both biological and cosmic in scale – calling attention to the organism’s relation as a subject to political senses and to the possibility of a transcendent play.