portfolio

Adam Ben David (b. 2000, Montréal) is a contemporary artist working across sound, text, performance and sculptural installation. Through these mediums, he seeks to explore sites where collective memory collides with private experience, and where the factors that politicize the Jewish diasporic experience (history, Zionism, ritual, and antisemitism) play out. By harnessing memory and connection across space and time, Adam traces a wandering Mizrahi lineage that becomes his to transmit, thereby normalizing the emergence of alternative Jewish identities resisting both nationalism and systemically-imposed narratives.

Loneliness, grief, and fleeting human connection emerge as unstable, shifting states rather than fixed sentiments. Through process-intensive labour, and the use of materials that carry residue and vulnerability, Adam reflects on the precarity of diasporic life. The subsequent transformation and interactions of these materials offer hope, persistence, and empathy as strategies for imagining sustainable, thriving futures for marginalized communities.

There is Daylight Beyond This Skin (2026)
Text seared onto rawhide goatskin, covered window, rotting wood, rusted nails
56.5in x 54.5in

There is Daylight Beyond This Skin enacts, verbatim, an op-ed issued by the artist’s high school administration, some months after his graduation.
It seeks to confront the material reality of institutional violence.

Adam (2026)
Hollow steel, pine wood, grated hand-soap shavings, transducer
10ft x 10ft x 1.5in

Adam is clad in shavings collected from grating bars of hand-soap, and by virtue of a hidden transducer, resonates loudly at a frequency of 1060Hz.

Memory Triptych (2025)
Reclaimed oak wood, monoprints (pyrography on rawhide goatskin)
53.5in x 11.3in x 3.5in

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Stained Glass (2025)
Engraved goat skin, original prose

Flinch (2025)
Engraved goat skin, original prose

Performance: “The Shared Labour of Storytelling” (Excerpt)

Audiovisual Projection (Excerpt)

Look How We Wander (2024)
Max/MSP, Quadraphonic Sound Installation (64 minutes, looped)
Olive wood, Plastic tarp, Pomegranate juice-dyed pine, Recycled tin & aluminium

35in x 29in x 14in

Sculpture and sound by Adam Ben David
Film by Lougien Dawoudiah

Look How We Wander explores the intersections between the diasporic Jewish and the diasporic Palestinian experience. Through a series of personal and religious recordings, Ben David works to distinguish between his faith and its politicization, specifically examining Zionist violence. Simultaneously, Palestinian artist Lougien Dawoudiah’s film captures her experience between grief, numbness, and survival as an exiled Palestinian in the digital age. Both artists share the labour of storytelling with the audience by inviting them to crank the interactive hand-wheel that reveals the film and sound components. The audiovisuals continue to elapse regardless of activation.

BANDAGES (2023)
Short film, miniDV
(2 minutes, 57 seconds)

Cinematography and direction by Michael Osei
Performance and music by Adam Ben David (as thenheturnedaround)

BANDAGES finds himself somewhere in the space between harm, self-loathing, rebirth, and hope.

View of Installation

Group Improvisational Performance

Rainforest IV - 50th Anniversary Installation (2023)
Steel Rain Gauge, Transducer
17.1in x 8.3in (hollow cylinder)
10.8in x 8.3in (cover)

Robert Appleton, James Bailey, Adam Ben David, Anne Bourne, Laura Jean Cameron, Liam Cole, Dimitri Georgaras, Chris Hemer, Sarah Jihae Kaye, Matt Rogalsky, Amanda Tschanz, Renata van Vliet

Fifty years after the original historic 1973 workshop installed by David Tudor and friends, a group of 13 sound artists learn about the piece through making, performing and discussing it. The rain gauge shares a physical space with a myriad of other resonating objects, creating a rainforest-esque soundscape.

To Show A Goldfish The World (2023)

A film by Celine Koma

Scored by Adam Ben David (as thenheturnedaround)

DEPAKOTE (2024)

A film by Celine Koma

Scored by Adam Ben David (as thenheturnedaround)