William Tucker remembers painter James Adley (1931-2015).
Tucker recalls: "You could not get back far enough in his studio to get a picture without distortion, and even in a large public space the actual visual experience of a 50-foot canvas like Transition (1988-98) was impossible to capture in a slide. Size was a necessary component of his symphonic ambition for painting. He favored a horizontal format with an implied grid or web of vertical and horizontal bars, which could be more or less dominant or transparent, but never rigid or dogmatic and always carried out with delicacy and sensitivity. He worked thin acrylic paint with a variety of implements, including brooms, squeegees and sticks."