Hunted Projects is pleased to announce Cunning Folk, an exhibition of new paintings by Bristol based artist Adam S. Forsythe.
Adam S. Forsythe (b.1981), is a painter whose work transcends the boundaries of reality, delving deep into the stories and creatures that populate the edges of our collective imagination. Drawing inspiration from age-old folktales, modern myths, and the practices of cunning folk—historical healers and protectors who navigated the mystical fringes of society—Forsythe has meticulously created his own unique folklore, populated by cryptids, furry monsters, and fantastical beings. With a vivid colour palette and a touch of humour, his paintings invite viewers into a playful exploration of the unknown.
Forsythe’s distinctive painting technique - a blend between airbrush and acrylic painting - captures the essence of these otherworldly creatures, making the extraordinary both accessible and engaging. His work is a thought-provoking combination of the mythical and the whimsical, encouraging viewers to question the stories we tell and the beings that might just lurk at the periphery of reality. By blurring the lines between the real and the imagined, Forsythe’s paintings not only entertain but also challenge us to rethink our understanding of the world around us.
In addition to his painting process, Forsythe incorporates AI tools into his practice, enabling him to generate new perspectives and imagine artificial folklore. This innovative approach allows Forsythe to push the boundaries of this mythical world, creating a series of portraits that is as forward-thinking as it is rooted in tradition.
Cunning Folk offers a rare opportunity to step into Forsythe’s imaginative world, where cryptids and monsters come to life in vibrant detail. Visitors will be drawn into a narrative that is at once entertaining and thought-provoking, a journey through a landscape where the mythical becomes real, and the whimsical becomes profound.
Adam S. Forsythe
Cunning Folk
6 - 29 September 2024
GALLERY
8/4 Murieston Lane
Edinburgh
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Download the full press release [PDF]
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For more information please email: info@huntedprojects.com
INSTALLATION VIEWS
Jarrod Thornbush, acrylic on canvas, 80cm x 70cm, 2024
Feral Snarlfiend, acrylic on canvas, 80cm x 70cm, 2024
Feral Colbalt Claw, acrylic on canvas, 80cm x 70cm, 2024
Snowbite Sprite, acrylic on canvas, 70cm x 60cm, 2024
Arctic Lipshade, acrylic on canvas, 80cm x 70cm, 2024
Sparkle Pup, acrylic on canvas, 70cm x 60cm, 2024
Gilded Gryphon, acrylic on canvas, 40cm x 35cm, 2024
Icy Embergaze, acrylic on canvas, 70cm x 60cm, 2024
Hunted Projects: Can you tell me about yourself and your creative background?
Adam S. Forsythe: I grew up in the west country of England, surrounded by rolling hills, ancient woodlands and cider. My earliest memories of painting are with my grandmother, who was a talented artist in her own right. She introduced me to the world of creativity and storytelling. Both my mother and my grandmother herself used to tell me she was a “white witch”! Interestingly, I’ve only recently discovered that ‘white witch’ is another term for a cunning folk.
I later moved to Brighton for where I studied for my BA. I loved the city but, as many people find after an arts degree, I couldn’t find any creative work for a few years and so moved back to Somerset. I later moved to Bristol, and I now live just outside Bristol in North Somerset. And yes, my village has its very own cryptid!
HP: I am curious if you have a daily working routine? Do you have any morning rituals or habits that contribute towards a productive day within the studio?
AF: I like to start work fairly early. I’ll often get most of my painting done before I’ve eaten anything. I find I’m really productive between about 10am and 2pm. Once I’ve come to a stopping point with my painting, I will start my research in the afternoon. This can be anything from reading weird subreddits about UFO sightings, watching a folk horror film or reading a magazine article about UK sightings of Bigfoot.
With regards to morning rituals I only have one: a pot of tea. Must be with oat milk.
HP: What inspired you to delve into the worlds of folklore and cryptids? Was there a specific story or myth that sparked your interest?
AF: I’ve always been fascinated by paranormal tales and unsolved mysteries, even as a kid. Growing up, I would devour books and documentaries about ghost stories, cryptids, and UFOs. There was something about the unknown—the space between what we can explain and what we can only imagine—that captivated me. It felt like these stories were windows into other worlds.
I began incorporating these ideas into my work around 2018. At the time I became very interested in human constructs and fictions. The way these stories are used for mass cooperation, but also for evil. My route into expressing these ideas became these contemporary legends.
Before this current series, my paintings were based on specific stories from folklore and myths. I would research a particular legend, learn about its origins, and then interpret it visually. It was a rewarding process, but after a while, I felt the urge to push my work further. I wanted to move beyond retelling these existing stories and start creating my own. This shift allowed me to blend the familiar with the unknown.
HP: Your painting technique combines airbrush and acrylics, creating a unique visual style. Can you walk us through your creative process, from initial concept to finished painting? Also, what drew you to begin using airbrush?
AF: Growing up around Bristol, I was exposed to graffiti from early on. I started using spray paint in my work when I was still a teenager. Airbrush seemed like a natural progression. You can get much finer marks etc.
When I start a new piece, especially in this series, it all begins with research and reading. I immerse myself in the themes of folklore, paranormal tales, and unsolved mysteries that have always fascinated me. From there, I sketch out initial ideas. Next I’ll move to the computer and refine the piece. The airbrush gives me the ability to build up layers gradually, achieving a sense of depth, which I really like. I often will then finish a painting with some straight up acrylic on top, which gives the impression that that part of the painting is in focus, like a photo with a shallow depth of field.
HP: Humour plays a subtle role in your work. How do you balance the whimsy and playfulness of your subjects with the darker, more mysterious aspects of folklore?
AF: Humour has been sneaking into my work for years now. It’s something that naturally finds its way into my work, regardless of the subject matter. When you delve into the world of paranormal media, you quickly realise that a significant portion of it doesn’t take itself too seriously. Just flip through a few issues of Fortean Times, and you’ll see how often the strange and the absurd go hand in hand.
The way humour manifests in my art tends to vary from series to series. In this current series, it’s mostly found in the expressions of the beings I paint. I’ve always been drawn to the way a simple look or gesture can convey so much personality, and that’s something I’ve observed in my everyday life too. I love taking candid photos of my family, especially when they have an amusing or quirky expression on their face. There’s something wonderfully human about those moments, and I think that sense of playfulness has naturally filtered into the creatures I create.
HP: You've incorporated AI tools into your practice, which is quite innovative. How do you feel this technology enhances your exploration of artificial folklore, and what new possibilities has it opened up for you as an artist?
AF: I’ve been looking at creativity within algorithms and generative computing processes since the early 2000s. It was the subject of my degree dissertation. My computer has always played a big role in my practice.
It seems that recently many artists have chosen to not engage with the new developments in machine learning, which I understand, but I immediately looked for a way to harness this tool. For example, I’ve used it a lot in this series to visualise studio lighting on the fur of some of the beings. This would have been a hugely time consuming process before generative models. It can now be done effectively in a much shorter time.
HP: Can you highlight some of your influences and discuss how your influences have made an impact on you and your practice?
AF: I consume massive amounts of tv shows, films, podcasts and books on the paranormal. A lot of influence comes from this media.
Other than that, most of my other influences are painters. Most of them have a very free style of painting too. Often very messy. I think this is because I’m constantly battling my sense of perfection when I work. These painters show me a way to be free from this, to a degree: Rose Wylie, Johnathan Messe, Philip Guston and Katherine Bernhardt.
HP: Any last points or thoughts you would like to share?
AF: The truth is out there.
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HUNTED PROJECTS
8/4 MURIESTON LANE
EDINBURGH
EH11 2LX
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