Colloquy (Les Perruches), 1968
Marion Adnams (1898 - 1995)
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Marion Adnams was drawn to subjects that invite multiple interpretations, revealing the surreal potential of familiar forms through subtle shifts in context and playful, evocative titles. 'Colloquy' (meaning conversation) is a naturalistic study of 'Asclepias syriaca', commonly known in France as 'Perruches' (budgies), owing to the striking resemblance of its seed pods to small parakeets.
The work exemplifies Adnams's ability to uncover the extraordinary within the everyday. By balancing careful observation with imaginative association, Adnams blurs the boundaries between scientific study and artistic invention. 'Colloquy (Les Perruches)' reflects her enduring fascination with the ways in which nature can appear at once familiar and uncanny, inviting viewers to look beyond first impressions and discover unexpected narratives embedded within ordinary forms.
Marion Adnams (1898 - 1995)
Marion Adnams (1898–1995) initially trained as a modern languages teacher. However, after woodcuts she made while travelling in Europe during the 1920s received significant praise when she exhibited them at Derby Art Gallery and with the Derby Women’s Club, she retrained at Derby School of Art, qualifying as an art teacher in 1938 and becoming Head of Art at Derby Training College in 1946 . From the late 1930s onwards, Adnams forged a reputation as a painter of deeply distinctive and dream-like visions inspired by Surrealism and exhibited in local galleries and in London, including at the British Art Centre, alongside Eileen Agar and at the Modern Art Gallery, alongside Jack Bilbo and Max Ernst. Although she never formally joined any Surrealist societies, she was a significant contributor to the movement, particularly regarding the female/male dichotomies within the group which she explored extensively in her work.
