Adam
Pendleton

Pendleton's Untitled (Days) (2020) captivates with its thought-provoking synthesis of collective ideas shaping our perception of time and space. Drips and splatters interplay, creating an abstract tapestry mingled with elusive, occasionally discernible words. Featured in Pendleton's debut solo exhibition in Geneva, titled Abstraction, it distinguished itself among eight new paintings, marking his venture into large-scale canvases. Untitled (Days) achieved a remarkable auction record for Pendleton, commanding £509,211 with fees at Christie's in November 2022, underscoring its significance and resonance in the art world.

Pendleton's Untitled (WE ARE NOT) (2019-2020) is a compelling exploration of contemporary themes through silkscreen ink and spray paint. Its horizontal layout enhances readability, drawing attention to the repeated phrase “WE ARE NOT.” Derived from Pendleton's Black Dada manifesto, the work sparks varied interpretations, suggesting understanding through negation. Several artworks from this series have achieved success in the secondary market, with sales at Sotheby's in November 2021 and May 2023 reaching £373,366 and £305,600 respectively (with fees), followed by another sale in October 2023 at Sotheby's Hong Kong.

At the Our Ideas exhibition at Pace Gallery in 2018, Pendleton's Untitled (A Victim of American Democracy) (2018) emerged as a standout piece within its eponymous series. These expansive canvases feature vertically spray-painted lines overlaid with stencilled fragmented letters, forming the title: “A Victim of American Democracy.” Inspired by Malcolm X's 1964 speech, Pendleton's concept of Black Dada, pervasive in his work, addresses both past and future. Rejecting definitive answers, his art aims for experiential and cognitive engagement. Untitled (A Victim of American Democracy) fetched £205,351 with fees at Phillips in November 2021.