Adam Linn’s practice contorts animate realities steeped in seduction. Using a voluptuous visual language, he works across drawing, painting, and printmaking to probe relationships between sexuality, power, gender, desire, and representation. Exaggerated perspectives pulse and undulate, thrusting themselves at the viewer in assertion.

Within these compositions, he animates entities of an almost banal level of familiarity—from hardware and appliances to body parts in flux. These subjects are a crossbreeding of the everyday with the weird and vulgar pockets of our deepest imaginations. Linn’s world-building imagines a viewpoint where all things breathe.

In this state of coexisting contradictions, things that should be rigid appear elastic, smooth surfaces are textured in static, and compositions bend and droop like warm taffy. These images push outward to the edge of the frame, swelling toward the viewer while sloping along the borders. In these curvilinear networks are legible details tangling with abstraction. Dramatic lighting, hypersaturated color, and the use of chiaroscuro sculpt these forms in vignettes of continuous flow.

This accentuated language reinterprets non-human entities through a language of erotic representation. Linn imagines sexuality as a force that is felt rather than explicitly seen—something that consistently evades definition. Queerness exists with a turvy logic where figures and spaces sit on the brink of recognition. The very idea of straightness rolls in on itself, curling up like a spring waiting to explode.