Gabe Scott: For the better part of the past decade, these mysterious, alternate landscapes have been your domain. Are you content in this sphere, or do you feel compelled to strike out in a different direction?
Adam Sorensen: It has been going on in my mind for a long time now, and yes, at times, I hunger for something new. However, there hasn’t been any output to speak of, at least of something new altogether. At some point, the world kind of expects a certain thing of you, and sometimes I feel compelled to follow those tendencies. The world seems to want what I’m good at doing. With that expectation, there’s a give and take. All of a sudden, I might think to myself, “Wait a minute, this isn’t just me,” and you sort of break yourself out of that rut or groove. Maybe that groove has become a rut?
When you are following intuition down a new or exploratory path, does it tend to provide you with a sense of freedom? Or do you find yourself more tentative in your improvisation?
When I speak of grooves and ruts specifically, I am talking about fighting my own inclinations. For years, when I’ve talked about my process with people, I’ve explained that I work from the top of the painting to the bottom. Then, I work my way down, and work from the back to the front. There are real beginnings and endings in each. It’s been really great, in a way, because I can say, ”This is my process. I’m going to execute my process, I’m going to look at my painting, and there you have it.” Slowly, the improvisation can dwindle; there’s less and less there. I’ve been seeing sort of a staleness start to come in. So, in terms of progress, it’s very much about challenging those rules and upsetting that process without tipping the boat entirely over.