Adamson’s dedication to painting was shaped through rigorous formal training. He studied at Carleton University and Ryerson University before completing his degree at the Emily Carr Institute of Art and Design in 1997, where he worked under influential mentors including Ian Wallace. A formative year at the Kunsthochschule Kassel in Germany immersed him in European modernism and the work of Gerhard Richter—an experience that left a lasting imprint on his approach to surface, colour, and pictorial ambiguity. Upon returning to Toronto in the late 1990s, Adamson quickly distinguished himself through a series of self-curated “pop-up” exhibitions, signaling both artistic independence and a deep commitment to building a serious, sustained practice.

His paintings are celebrated for their tactile presence and disciplined experimentation. Drawing on influences from Hans Hofmann, Gerhard Richter, and Canadian modernist traditions, Adamson constructs layered surfaces that combine gestural brushwork with geometric frameworks. Major bodies of work—such as Open Country (2008), a series of 150 paintings completed over five months, and Open Road (2018)—underscore his exceptional work ethic and long-standing engagement with process-driven exploration.

Adamson has exhibited widely across Canada, the United States, Europe, and Japan, with work shown at institutions including the McMichael Canadian Art Collection, the Gardiner Museum, the Beaverbrook Art Gallery, OCAD Gallery, and Thompson’s Galleries in London. His paintings are held in significant public, corporate, and private collections, including the Art Gallery of Nova Scotia, Bank of Montreal, Royal Bank of Canada, Holt Renfrew, and the Metro Toronto Convention Centre, as well as prominent private collections in Canada, the U.S., and the U.K. He has also completed notable commissions for Kent Council (UK), Holt Renfrew, and Bennett Jones LLP.

Collector’s Perspective:
Michael Adamson’s market is well established and internationally recognized. Auction results for his work range from approximately CAD $1,500 to $12,000, with gallery prices for larger or historically significant works exceeding $25,000. Represented by Thompson’s Galleries (London, UK), Moore Gallery (Toronto), and Sopa Fine Arts (Kelowna), his paintings are valued for their vibrant colour, intellectual depth, and sustained relevance within contemporary abstraction. For collectors, Adamson’s work represents both aesthetic confidence and long-term stability—anchored by institutional presence, consistent demand, and a career that continues to evolve.

This group of works, currently available, offers collectors an opportunity to acquire paintings by an artist who has played a formative role in shaping contemporary Canadian abstraction. Owning an Adamson is not simply an acquisition of a visually compelling work, but an investment in a painter whose influence, discipline, and relevance are firmly established.

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