The original HA Collider was a theoretical experiment invented by Harold Rosenbloom Snr for the HA Protocol 2013. The methodology required Marcel Duchamp in one wheelbarrow and Edvard Munch in another, with both being pushed at high speed towards each other through a large cardboard tube by two notable contemporary artists (possibly Martin Creed and Anselm Kiefer, but any would do) until they smash into each other. Rosenbloom conjectured that within the wreckage of that crash a new egalitarian and timeless art would be formed: part mechanical, part human, and of great terror and beauty.
With this euphoric and apocalyptic series of ‘screen paintings’, Harry Adams launch themselves into the wreckage, taking Rosenbloom’s conceptual premise and applying it to the practical deconstruction of their own work. Disaffected by their recent landscape paintings, many featuring rising water & flood scenes, they have made cut-ups: taking photographs of the paintings, simplifying and reducing the images into a monochromatic world of bitmaps, and making silk screens from them. Using multiple screens the imagery is feverishly jammed, overlaid and collided into fantastical new realms.
All bearing the same motifs of water, land and sky: always the same – always different – always moving on to the next discovery, the next recombination – until the next.