An expansive display of pink hues and textures greets each new visitor to the Institute of Contemporary Art. Igshaan Adams’ most recent commission for the museum is an intricate weaving that stretches across the Sandra and Gerald Fineberg Art Wall. The monumental piece, titled “Lynloop,” is an artwork reflective of Adams’ experiences growing up in South Africa. As a new installment in the ICA gallery, “Lynloop” is a delicately constructed and deeply connected work that contemplates movement through space, personal identity and the artist’s continual exploration of desire lines, paths created by pedestrians that fall outside of planned walkways.
There are two elements of this installation which work in tandem. One is the network of pink beads, rope, chain and mohair on the wall, forming an abstract shape that symbolizes a map of pathways. The weaving is modeled after a sports field near Bonteheuwel, the South African town he grew up in. For him, the field was associated with negative feelings and judgment of masculinity. Adams intertwines this specific location with experiences of gender through his use of material. The soft and fluffy pink mohair represents the sports fields as less daunting than how he once saw them. The second element of the installation is a collection of wire sculptures hung from the ceiling. They are cloudlike in appearance and have the same rosy hue as the weaving. Together, the weaving and wire sculptures actualize Adams’ relationship with space in an awe-inspiring way.
Adams’ art draws upon his childhood experiences growing up during apartheid South Africa. Lived experience in segregated spaces and desire lines are at the core of his work. Adams’ multidisciplinary art constantly challenges the concept of boundaries. With “Lynloop,” he focuses specifically on social pressures to stay in line. Adams writes, “In sitting with the discomfort of growing up among these hypermasculine spaces, the installation explores how I have had to superimpose my own fantasies onto memories in a way that softens the hard edges and coldness of this area.” Through three-dimensional artwork, he maps not only physical locations but also human memories and interactions with these places.
Adams has created installations for various museums and galleries around the world. With these installations, he brings a unique vision of craftsmanship by engaging members of his community throughout the creation process. In an interview with Frieze magazine in 2023, Adams explained his process: “When I needed assistance with my projects, I employed my mom and two women whom I had taught, and they’re still with me several years later. I eventually employed some of their family members, too.” He said, “I often find myself using the word ‘we’ when I speak about the work because my practice is not singular at all. I’ve been working with the same team since the beginning of my career and even my neighbours feel like my extended family.” Standing in front of the massive pink network of material at ICA, the incredible collective effort on this project is clear to see.
Igshaan Adams’ installation at the ICA is a particularly impressive show of material possibility and connection to one’s community. If making the trip from Somerville to the Seaport isn’t feasible at the moment, though, there’s no need to worry. Lynloop will be on display for a year, from Feb. 13, 2024 to Feb. 25, 2025.
