Victoria Adam interviewed by Susie Pentelow for Traction Magazine, December 2017

Victoria Adam, Unplayable lies, 2015

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There is a sense of tenuous balance in a lot of your works - like in ‘Lost and sad (Diana)’, where it seems that the necklace could slip to the ground, and in works like ‘You but better (2)’ and ‘Mermaid Oil plumage crease’, which feel like they could topple at any moment. Is this precarity something that you deliberately put into your work?

I’m drawn to artworks that somehow make you aware of your body and physicality and maybe precarity is an aspect of this. I recently made some works that look like metal stalks, 3 metres tall but 6 millimetres thick: trembly, shaky things topped with metal casts so the whole stalk bends into an arch. Walking around, you’re aware of taking care not to knock or lean on them. There’s something about a small, quiet or slight object being demanding; asking you to come close, almost breathing on it to see it, or works that incite a feeling of being clumsy or careful in the body of the viewer...

Read the full interview here