Adam Cable
Adam Cable
A potted palm tree with multiple overlaid detail shots creating stacked appearance.
A potted palm tree with multiple overlaid layers going from large to very small, similar to the scaling effect while resizing a computer window.
A potted palm tree with multiple overlaid layers showing a progressive degradation of the image into eventual pixels.
Multiple palm tree images are overlaid on a blown up detail shot, similar to a computer desktop and its windows.
Split-screen style image with a potted palm tree against a white background to left, on right is a highly enlarged detail shot.
A potted tree with three detail shots stacked in diagonal row, partially obscuring the main image.
A potted tree mostly obscured by rectangular detail shots stacked over it, creating a kind of mutant plant.
A potted tree sits to the far left, to its right are six squares showing different detail excerpts from the main image.

This series of small compositional studies, Pixel Cuts, demonstrate how the distribution of images becomes content in and of itself. The physically stacked inkjet prints within the frame create slight multilayer reliefs, symbolizing ways in which visual information is both cumulative and impressionable. Echoing the organization of imagery in digital spaces by guiding the viewer to specific details, analogous to the design languages of content management systems (CMS) and e-commerce, these implicitly biased frameworks shape understanding and expectations. By reorganizing familiar pictures of plants, data structuring moves to the forefront, underscoring how even seemingly objective images can display signs of calculated mediation.

A potted palm tree with multiple overlaid detail shots creating stacked appearance.
A potted palm tree with multiple overlaid layers going from large to very small, similar to the scaling effect while resizing a computer window.
A potted palm tree with multiple overlaid layers showing a progressive degradation of the image into eventual pixels.
Multiple palm tree images are overlaid on a blown up detail shot, similar to a computer desktop and its windows.
Split-screen style image with a potted palm tree against a white background to left, on right is a highly enlarged detail shot.
A potted tree with three detail shots stacked in diagonal row, partially obscuring the main image.
A potted tree mostly obscured by rectangular detail shots stacked over it, creating a kind of mutant plant.
A potted tree sits to the far left, to its right are six squares showing different detail excerpts from the main image.
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This series of small compositional studies, Pixel Cuts, demonstrate how the distribution of images becomes content in and of itself. The physically stacked inkjet prints within the frame create slight multilayer reliefs, symbolizing ways in which visual information is both cumulative and impressionable. Echoing the organization of imagery in digital spaces by guiding the viewer to specific details, analogous to the design languages of content management systems (CMS) and e-commerce, these implicitly biased frameworks shape understanding and expectations. By reorganizing familiar pictures of plants, data structuring moves to the forefront, underscoring how even seemingly objective images can display signs of calculated mediation.

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