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Adam de Boer (b. 1984, California).
For over a decade, Adam de Boer’s work has combined traditional Javanese crafts, such as wood carving and batik, with Western oil painting as a way to connect his artistic practice with those of his distant cultural forebears. His coastal scenes and cityscapes explore the visual textures, cultural minglings and socioeconomic realities of California and Indonesia. De Boer’s recent work depicts the cultural hodgepodge that is Los Angeles while maintaining a strong connection to his own Dutch-Indonesian immigrant heritage.
Adam de Boer graduated with a BFA in Painting from the College of Creative Studies at the University of California, Santa Barbara (2006) and an MA in Fine Art from the Chelsea College of Art, London (2012). His work has been exhibited at Jane Lombard Gallery, New York (2026); Plato, New York (2024); Taymour Grahne Projects, London (2024, 2022); The Pit, Los Angeles (2023); Gajah Gallery, Jakarta and Singapore (2023, 2022); Ben Brown Fine Arts, London and Hong Kong (2022); The Hole, New York and Los Angeles (2023, 2022); World Trade Centre, Jakarta (2018); and Art Jog, Yogyakarta (2018, 2015).
[1] Gold Coast Golden Hour | 2026 | Batik and oil paint on linen | 40 x 30 inches / 102 x 76 cm | ©Adam de Boer
[2] Reconstruction Site no.3: Mt. Holyoke Hollyhocks | 2026 | Batik and oil paint on linen |22 x 44 inches / 56 x 112 cm | ©Adam de Boer
De Boer is a Joan Mitchell Foundation Fellowship alumnus and in 2017 was awarded a Fulbright Research Fellowship to Java, Indonesia. Other grants include The International Art Prize presented by Winsor & Newton and Paul Smith’s Foundation, Arts for India from the University of the Arts, London, and those from The Cultural Development Corporation, The DC Commission on the Arts and Humanities, and The Santa Barbara Arts Fund.
©Adam de Boer
By integrating Western painting history with Southeast Asian traditional craft, my artistic practice seeks to restore my family’s Indonesian heritage and aesthetic lineages, which were once diminished by the pressures of acculturation in Southern California. I propose that the migrant experience—defined by the trauma of displacement, the richness of cultural hybridity, and a resilient spiritual core—is fundamental to American identity. Ultimately, my work underscores that an enduring commitment to cultural difference is vital for the creation of truly inclusive societies.
©Adam de Boer
As a first-generation American raised in Southern California, I intrinsically accepted my American identity. My family’s American identity, however, was deliberately adopted, birthed by politically-forced migration from the Dutch East Indies and reinforced by assimilation into a mid-century Californian lifestyle. This process necessitated that my family suppressed their grief and sense of displacement.
©Adam de Boer
My recent work employs a personal adaptation of batik, a traditional Javanese textile tradition, as a formal metaphor to examine the complicated dynamics of culture and identity. Batik, a wax-resist fabric dyeing technique, is believed by some researchers to predate written language. Its spread throughout the world—particularly in Africa—was facilitated by centuries of Dutch colonialism, industrialism, and trade, causing confusion about its origins. But UNESCO-sponsored research suggests that it originated in Central Java, my father’s birthplace. For me, batik has been the ideal, poetic medium for exploring ideas around historical memory and cultural hybridity because its forms, motifs, and colors have been changed by each culture that has adopted it.
©Adam de Boer
I consider myself another in a long line of practitioners. My work functions like a trick mirror, unifying the distinct Indonesian and Californian aspects of my identity. Made by the meticulous layering of acrylic paint washes over hand-drawn lines of molten beeswax on linen, the colored textiles are then boiled to eliminate the wax and then stretched onto traditional rectangular painting frames. My most recent batik paintings are original compositions derived from direct observation of life and landscape in neighborhoods throughout my current home of Los Angeles. They record moments that highlight the unique characteristics, personalities, and evolution of different areas of the city.
©Adam de Boer
Like batik in Indonesia, the quality of light here in Southern California has helped define the cultural identity of Los Angeles as well as its economic engine. The unique light has been memorialized in the Hollywood film industry while also serving as a tool of cultural diplomacy. The boiled, washed surfaces of my batik paintings mimic the way that smog, smoke, and sea spray refract light in Southern California. Astonishingly, an ancient graphic textile process from half a world away is a perfect tool to record Los Angeles’ skies and landscapes with remarkable naturalism and poetry.
For more details about the Dutch Indonesian origins of his family, it is best to read these 3 interviews:
¬ Maake Magazine
¬ Adam de Boer’s “Traveller’s Palm” — Hunter Shaw Fine Art
¬ A tale of two artists – The Jakarta Post
Adam de Boer
www.adamdeboer.com
Instagram: adam_deboer
Education
¬ 2011 – 2012 University of the Arts, London, Chelsea College of Art (MA)
¬ 2002 – 2006 College of Creative Studies, University of California, Santa Barbara (BA)
¬ 2002 – 2006 Severini School of Art, University of Georgia, Athens, Cortona, Italy
©Adam de Boer
CV- Resumé
Adam de Boer is an accomplished artist with an extensive exhibition history, awards, and recognition in the contemporary art world.His work explores cultural identity, imperialism, and social themes through painting and mixed media.
Education and Residencies
¬ Holds an MA from Chelsea College of Art, London, and a BA from UC Santa Barbara.
¬ Participated in residencies in Indonesia, Colombia, India, and the US, fostering international artistic development.
Exhibitions
¬ Has held solo exhibitions from 2010 to 2024 across New York, London, Jakarta, Los Angeles, and Yogyakarta.
¬ Notable recent shows include “Edge City” (2024), “The Sunset Cycle” (2024), and “Littoral Images” (2023).
¬ Group exhibitions include “Immensity of Blue” (2026), “Blood as Thick as Water” (2025), and “Ghosts of Empires II” (2022).
Awards and Fellowships
¬ Awarded the 2024 Winsor & Newton x Paul Smith’s Foundation International Art Prize.
¬ A Joan Mitchell Fellow (2021-2025) and a Fulbright Research Fellow (2017-2018)
¬ Recognized with grants from the Arts Fund, DC Commission, and others.
Collections
¬ His work is included in major collections such as LACMA, The Dean Collection, and the Art Museum of the Americas.
¬ Also held in corporate and institutional collections in China, Indonesia, and the US.
Publications and Media
¬ Featured in numerous articles, interviews, and reviews in outlets like Forbes, The New York Times, Juxtapoz, and Architectural Digest.
¬ Recent coverage highlights his exploration of cultural identity and imperial legacies.
Themes and Focus
¬ His art critically examines colonial histories, cultural hybridity, and social issues.
¬ Uses vibrant painting techniques, thick outlines, and layered imagery to evoke complex narratives.
¬ Continues to develop projects addressing social unrest, identity, and post-colonial legacies.
See for details: CV Adam de Boer
©Adam de Boer
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