In his photographs, the former dancer and choreographer AdeY arranges his models sculpturally: often dressed only in sneakers, they are put into geometric groups, leaning together closely or stacked on top of each other. The civilizing scaffolding of our everyday life is visibly and humorously questioned as such. The Swedish-British artist combines his protagonists in the no-frills environment of a laundry room (Laundry Time, 2015) or places them on an empty shelf (Modern Living, 2017). He places them in stacked boxes, as in “Product Placement France (2018)”. An allusion to one of Will McBride's most famous photo series, the “Box Stories”. For his magazine Twen, McBride photographed the sixteen performers of the then Munich Hair Musical naked and staged them in eleven boxes – as a protest against the Vietnam War and as a plea for a free life in which everyone is allowed to show their nakedness differently, thoughtfully, bashfully, carefree.
The nude back act of the members of Kommune 1 by Thomas Hesterberg “Kommune I (1967)”, which has meanwhile also become a photo icon, is another motif that AdeY refers to in “Hangout Part IV (2017)”. This, too, is one of the most striking pictorial documents of the 1968 movement in Germany, and at the same time a symbolic image of the sexual revolution. The longing for the free society postulated at the time is also expressed in AdeY's “Accumulate (2017)”. Three women climbing on a tree in the backyard of a house naked – a contemporary “commune photo”? Other allusions in AdeY's works to artistic models are also revealing: “After you (2018)”, for example, recalls the performance „Imponderabilia (1977)“ by Ulay and Marina Abramovic, where museum visitors had to make their way past the two unclothed artists in order to enter the exhibition.
A humorous interpretation of the Darwinian theory of evolution can be found in “Evolution Part II (2018)”. AdeY counteracts the path to the “upright walk of man”, as postulated by Darwin, by the comical stringing together of crouched to standing people, the last of whom is upside down and not standing upright. AdeY's photographs avoid focusing on the individual. He does not show the faces of the participants and thus achieves a stronger identification with the viewers. The right to differences drives his pictures. Humorous and experimental, they visualize human vulnerability and loneliness, but also strengths. In “Devotion (2017)” the “home” has already collapsed and degenerated into a ruin. Two people cling to the last beam – what remains is the bond as the last straw in the middle of a collapsed world.
AdeY's works are politically motivated. They explore how society is defined, who we are and how we are perceived. The human being is fitted into external structures – whether it suits him or not. The sensitivity of unprotected skin contrasts the inhospitality of the civilized environment. Be it the laundry room with its cool tiles and the washing machine or the angular compartments of the prefabricated empty shelf. The vulnerable body is crammed into it and the feeling of being different is intensified. But fortunately there are still others to cuddle up to. A plea for tolerance.