Adam Dix’ work brings together a world illustrating community and ritual, whilst it crosses through another world of analogue and digital medias. He uses a palette of muted colours which he combines with hazy imagery to create subtle compositions.

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The paintings are exploring an imagined world of the present where the past is reinterpreted seemingly to appear in a futuristic landscape, blurring traditional folk costumes and religious ceremonies with contemporary forms of communication. He seems to be referring to an imagined future of our predecessors; his choice of colour linking the subject of contemporary technology to its 1950s origins. They are discussing a borderland between the virtual and real world, whilst exploring how humanity adapts to new modes of communication. When looking at his work, you are invited to engage in a celebration, whilst questioning past and present forms of 'social networking'. The ritualistic events that Dix references in his work will most likely not exist anymore, instead being replaced by today's technology so that we talk to each other through different means of contemporary communication rather than all getting together as a community. 

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You are left to wonder what it would be like if the technology of today was available 100, 200, 300 years ago? Dix portrays the people in his paintings worshiping at the bottom of pylons for example and holding their tablets up high whilst on a procession. In my eyes, he is mocking social media. His work serves as a mnemonic warning against our reliance on – or reverence for – technology.

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