Asparagus Table, 1973
                           (photo by Regina Cherry)
                                       Resin, sunflowers, ssparagus and cast hands
                                       45 inches diameter


“Ms. Mim’s exhibition history has been based primarily on three-dimensional pieces. But in taking on the challenge of translating her previous experiments with fisherman’s netting to schemes of painting, she too had struck out in a new direction. Greatly enlarged, the netting’s crisscrossed webs become powerful diagonals to lead the eye. Ms. Mim’s interest in saving the sense of pliability contributes t the considerable visual potential here. Surfaces are infused with qualities of pushing, pulling and drooping. What should be firm seems soft. The natural diamond-shape spaces established by the netting grid are given various solid hue, making all of this especially complex as a perceptual issue. Among the most successful paintings are “Skylight,” organized as irregular waves; “Crossroads,” which pushes the forms into a chevron, and “Harlequin,” which breaks the surface into four squares.”
     - Phyllis Braff, “Athos Zacharias and Adrienne Mim”, The New York Times, June 5, 1994

“Ms. Mim has a fierce commitment to the musicality of forms and space – to express ideas as well as to invent them in a kind of translucent poetry of materials. Her mediating surfaces move in torrential turns within the embracing armature. Each sculpture becomes autonomous while still belonging to the natural progression of every piece. Her earlier environmental sculptures were giant hollow vessels of opaque fiberglass. The new work is concerned with the dynamics of the inside-outside structure in self-generating images and space. “
     - Rose Slivka, The East Hampton Star, November 28, 1995

“Adrienne Mim’s “Quadromodmim I”, made in 1976, is a quirky structure with three steel legs supporting a fiberglass and polyester resin form in bright, slick red-orange. In terms of its surface, at least, it resembles the work of other artists. Its overall form, however, is something else again, and the spindly tripod base confounds our expectations and give the sculpture a good deal of panache.”
     - John Caldwell, “Stimulating Show Inaugurates Site for Outdoor Sculpture” The New York Times, July 11, 1982

“In both materials and forms, her work speaks of contemporary technology, heralds the cool, impersonal shapes of science and appears to be designed to compliment the spaces found in urban architecture. Actually, several of the pieces in the Odin show are small scale maquettes of monumental  works for places like Battery Park and Ward’s Island. Mim works with polyester resin, reinforced with fiberglass. She molds her pieces carefully, often adding black, gray or brilliant orange coloring. Several of her pieces use a single, basic modular form, which, in different combinations, creates entirely different works. Fastened together with plainly visible screws and bolts, these works have a definite machine-like look.
But then, in what I take to be several earlier things, the polyester was molded over face-like forms which appear to struggle for recognition from under the taut layer of plastic. “Trilo Modmim” and “Black Mask” both have that humanist quality, but “Molecular Modmim” and “Red Circle” are more typical of Mim’s mechanistic sculpture."
     - Malcolm Preston, Newsday, June 24, 1980

Kelly Ann Smith, Edible East End, Fall, 2009

For a full press kit in hard copy, please contact the artist.