If you ask Joe what keeps him interested in his work with Brian, it’s likely you’ll hear him describe the current thing he’s drawing (“I like drawing the weatherman, ‘cause he’s a creep”). When it comes to creating art, Joe’s mind functions in a way that keeps him attending to the present moment without getting lost in the typical creative’s self-reflexive concerns– you’ll never hear him speaking of imposter syndrome, or his fear of lacking some ultimate artistic vision or leaving a legacy. His concerns arise when he runs out of paint or paper and his flow is interrupted. Joe’s idiosyncratic fascinations jostle Brian’s more curated artistic vision, frequently delighting the more established artist with an unexpected, challenging subject. For years after the tragic explosion of the Challenger, Joe’s inner world spilled out into thickly-lined drawings of “dead astronauts”, his apparent grapple with death unsettlingly juxtaposed with his signature smiling faces.
Brian invites Joe into collaboration for exactly this kind of chaos. Joe is often demanding in his process, obsessive in his subjects and applications of media, and fraternally teasing toward Brian. The payoff from the disruption is a shared process that demands presence in the act of making (there is absolutely no time for self-doubt), a wellspring of inspiration for Brian, and a strong bond between the two artists. Joe is verbally effusive in his affection, frequently reminding Brian that he loves him. Those words flow easily for Joe. He feels Brian’s reciprocation not only in words, but also when he gets paint on his hands, as “Brian helps me clean it off because he’s a good friend.”
The paintings that Joe and Brian create together always begin with Brian prepping the needed supplies and Joe laying down the initial figures or shapes with bold black lines. Brian’s formal education in art and his familiarity with materials help lend sophistication to Joe’s natural talent. "We’ve found a certain groove. He works at my desk in the studio…. Most drawing tools he calls crayons, but I know the crayons he prefers, and the ones I like best for him to use too.” After the image takes shape, Brian asks what the subject is, and Joe typically informs him matter-of-factly. Brian confesses that “sometimes that becomes the title, sometimes I make a note on the back and craft a title later.” Brian’s sensibility for stripped-down, archetypal titles is a natural complement for Joe’s style of imagery. Both men then take turns applying colors and washes in various media. In between sessions, Brian dries and organizes the pieces until they’re recirculated into Joe’s hands, then repeats this process until it's determined that each piece is done. The call is usually made by Brian, as Joe has little care for the fate of the piece that’s not currently in his hands. When complete, Brian stacks and weights each work on paper to compensate for the warp of multiple richly applied layers. Finishing each piece can take weeks, months, or years.
While Joe doesn’t converse much about his motivations for making art with Brian, it’s apparent he loves the striving involved in making it to work at the studio, in pushing himself to stay after-hours on the weeks when he finds his flow. “He always ‘signs in’ when he arrives. That means writing his name on a piece of paper and telling me to give it to…my assistant.” Joe insists on signing out as well, indicating a determination to mark the satisfaction of having put in a full day’s work, all within the confines of arriving home in time for his favorite show to air on broadcast TV. As for the notoriety his work brings him, Joe’s excitement for an upcoming show opening is evident, as he is often “hoping to see TV personalities or cast members from his favorite TV shows," but after several years of such events, Joe knows himself better. He prefers the fame of being featured in more intimately-filmed and familiarly-situated documentaries at the studio with Brian, because he’s “too shy too much”, and besides– it’s fun to see himself on TV.
If there’s anything else Joe wants you to know about himself and his process, its that having the Beach Boys, the Ducks song (Queen’s “We Are the Champions”), the Beatles, and Bingsteen (the Boss) blaring in the background are a non-optional condition for his work. Joe also prefers payment for his artwork in the form of a big check (not the dollar amount, just the actual physical size of the check). Brian is currently working on it.
”Within the first few years of my professional art career — almost 30 years ago — I began a side project working collaboratively with Joseph Adams. Joe is just a few years younger than me and has Down's Syndrome. This collaboration has produced hundreds of works, several exhibitions in and out of state, a few short documentaries, and a great deal of enjoyment for Joe and I who have recently returned to regular robust production." — Brian Kershisnik
Video and photos by Steve Olpin @thetalkingfly