Derrick Adams, a prominent Black artist born in Baltimore in 1970, has carved out a unique space in the art world by blending vibrant imagery, personal fixations, and historical references into his work. His journey as an artist began during his time at Columbia University in New York, where he realized that, as a Black person, everything he created would inherently be political. This realization, rather than constraining him, liberated his creative process. Adams embraced the fact that his identity and experiences would always be intertwined with his art, declaring, “I’m walking politics.” This perspective has guided his career, as he continues to explore themes of race, identity, leisure, and resilience through his work.
Adams’ latest exhibition, Situation Comedy, currently on display at the Gagosian gallery in London until March 22, showcases his signature style of playful, larger-than-life compositions. His works often feature Black figures in scenes of leisure, such as sleeping, picnicking, or hunting for Easter eggs, all depicted in vivid, prismatic colors. While these images may invite interpretations that tie them to broader political or historical narratives—such as the inclusion of a Black cowboy, which nods to the oft-overlooked history of African-Americans in ranching—Adams insists that his art is open to interpretation. “It is up to you,” he says, leaving the meaning of his work to the viewer’s discretion. This approach reflects his belief that art should be intuitive and accessible, allowing audiences to connect with it on their own terms.
Adams’ creative process is deeply personal, drawing from a wide range of influences that reflect his own interests and fascinations. These include Telfar bags, 19th-century ceramics, Kenyan Masai warrior sculptures, and even the elaborate hairstyles of Halle Berry and Natalie Desselle in the 1997 film B.A.P.S. For Adams, painting is a way of “bookmarking” these obsessions, creating a visual archive of the things that resonate with him. While his work is rich in symbolism, he intentionally leaves room for escape, allowing viewers to engage with it without feeling the need to dissect every possible meaning. This duality—of being both complex and approachable—is a hallmark of his artistic style.
One of the central themes in Adams’ work is the concept of respite and recreation, states of being that are often inaccessible to marginalized communities. His dreamlike compositions frequently depict Black figures in idyllic settings, emphasizing the importance of rest and joy. This focus is particularly poignant in light of the systemic barriers that limit access to nature and leisure for people of color. By portraying Black individuals in serene, vibrant environments, Adams creates a visual counter-narrative to the frequent erasure of Black people from spaces of relaxation and beauty. His work challenges the notion that such experiences are reserved for the privileged, instead asserting the right of Black individuals to occupy these spaces.
While Adams’ work is often categorized under the label of “Black joy,” a term used to describe Black figurative painting that does not explicitly reference trauma, he finds the label limiting. He recalls how early in his career, critics and audiences struggled to place his work, defaulting to the “Black joy” category as a way to make sense of it. Adams does not reject the idea of joy entirely, but he resists the pigeonholing of Black artists into narrow categories. For him, the label oversimplifies the richness and depth of his work, which spans a wide range of emotions, themes, and historical references. Adams’ resistance to such categorization reflects his broader critique of the art world’s tendency to reduce the work of Black artists to simplistic or familiar narratives.
Adams is also steadfast in his refusal to explain or elucidate his work, believing that doing so would rob viewers of the opportunity to engage with it on their own terms. He compares his approach to that of a passionate art teacher, inviting viewers into a “classroom” where there are no wrong answers, only possibilities for further exploration. This philosophy is evident in works like Sweetening the Pot (2024) and Fantastic Voyage (2024), which pay homage to the clay pots created by enslaved Black potters in the 1800s. These pieces serve as a testament to the creativity and resilience of those who came before him, celebrating their ability to imagine and create even in the midst of oppression.
Adams’ exhibition in London coincides with Black History Month in the U.S., a fact he finds “exciting” rather than restrictive. While some Black artists might shy away from showing their work during this time, fearing it might reinforce stereotypes or limit their visibility, Adams sees it as an opportunity to challenge and subvert expectations. He remains committed to his artistic vision, refusing
