Author Description

Adam Berg probes perception in multiple experiential realms, interweaving art, history, science, ecology, and politics. The term "evidence" suggests different meanings that are enacted in Berg's art, in terms both of the content and the perception of the work. Berg's fusion of scientific models and diagrams together with art references, especially the language of abstraction (from Leonardo to Kandinsky), results in dynamic exchange between the conceptual and the perceptual. In light of post-conceptual practices, Berg's art dares to return to the sensory values and perception of painting and to attempt once more to face Giotto's greatest challenge: drawing a circle, which equals the supreme conceptual sense of generating a shape and creating an absolute.