Adler & Edmark

Series Entry 10.1


Description

Series_10

Adler & Edmark and Earl Gravy

Series 10 kicks off a month-long residency on Pair Shaped for artist duos, Adler + Edmark and Earl Gravy. This original series developed through a process somewhat modified from the standard dialogue format employed for previous Pair Shaped projects:

1). Adler + Edmark submitted a set of created images.

2). Earl Gravy then selected a single representative image from the provided set to serve as Entry 1.

3). Following in turn, Earl Gravy created and submitted an entirely new set of images in response to the opening contribution.

4). Adler + Edmark selected a representative entry from this new set to serve as Entry 2.

The same process applied for series entries 1-8. For the ninth and final entry of Series 10, all of the previously unselected images from the exchange are published en masse as an enormous archive of collaborative ‘refuse’.

For the featured imagery, quotidian household items mix with assorted beach paraphernalia. Digital recreations follow in the wake of ‘real’ inflated dolphins. Then, all come bursting forth in a deluge of reminders and remainders. Decontextualized objects combine into unexpected assemblages of new significance and meaning.

Part perversion of choice, part graphic chaos, the creative dynamic at play systematizes the act of selection, only to ultimately subvert the arbitrarily established controls. Originally conceived with the title prompt of “LA Light and Water”, theseries initially nods to attempts at distilling the elemental, or performing an essential operation of perceived value (as if a municipal utility company), then undermines the credibility and purpose of such an inherently unstable organizational framework. The result is an absurdist take on the illusory ‘freedom to choose’ and ‘image-making’ processes that take place daily in our endlessly mediated consumer culture.


Earl Gravy

Series Entry 10.2


Description

Series_10

Adler & Edmark and Earl Gravy

Series 10 kicks off a month-long residency on Pair Shaped for artist duos, Adler + Edmark and Earl Gravy. This original series developed through a process somewhat modified from the standard dialogue format employed for previous Pair Shaped projects:

1). Adler + Edmark submitted a set of created images.

2). Earl Gravy then selected a single representative image from the provided set to serve as Entry 1.

3). Following in turn, Earl Gravy created and submitted an entirely new set of images in response to the opening contribution.

4). Adler + Edmark selected a representative entry from this new set to serve as Entry 2.

The same process applied for series entries 1-8. For the ninth and final entry of Series 10, all of the previously unselected images from the exchange are published en masse as an enormous archive of collaborative ‘refuse’.

For the featured imagery, quotidian household items mix with assorted beach paraphernalia. Digital recreations follow in the wake of ‘real’ inflated dolphins. Then, all come bursting forth in a deluge of reminders and remainders. Decontextualized objects combine into unexpected assemblages of new significance and meaning.

Part perversion of choice, part graphic chaos, the creative dynamic at play systematizes the act of selection, only to ultimately subvert the arbitrarily established controls. Originally conceived with the title prompt of “LA Light and Water”, theseries initially nods to attempts at distilling the elemental, or performing an essential operation of perceived value (as if a municipal utility company), then undermines the credibility and purpose of such an inherently unstable organizational framework. The result is an absurdist take on the illusory ‘freedom to choose’ and ‘image-making’ processes that take place daily in our endlessly mediated consumer culture.


Adler & Edmark

Series Entry 10.3


Description

Series_10

Adler & Edmark and Earl Gravy

Series 10 kicks off a month-long residency on Pair Shaped for artist duos, Adler + Edmark and Earl Gravy. This original series developed through a process somewhat modified from the standard dialogue format employed for previous Pair Shaped projects:

1). Adler + Edmark submitted a set of created images.

2). Earl Gravy then selected a single representative image from the provided set to serve as Entry 1.

3). Following in turn, Earl Gravy created and submitted an entirely new set of images in response to the opening contribution.

4). Adler + Edmark selected a representative entry from this new set to serve as Entry 2.

The same process applied for series entries 1-8. For the ninth and final entry of Series 10, all of the previously unselected images from the exchange are published en masse as an enormous archive of collaborative ‘refuse’.

For the featured imagery, quotidian household items mix with assorted beach paraphernalia. Digital recreations follow in the wake of ‘real’ inflated dolphins. Then, all come bursting forth in a deluge of reminders and remainders. Decontextualized objects combine into unexpected assemblages of new significance and meaning.

Part perversion of choice, part graphic chaos, the creative dynamic at play systematizes the act of selection, only to ultimately subvert the arbitrarily established controls. Originally conceived with the title prompt of “LA Light and Water”, theseries initially nods to attempts at distilling the elemental, or performing an essential operation of perceived value (as if a municipal utility company), then undermines the credibility and purpose of such an inherently unstable organizational framework. The result is an absurdist take on the illusory ‘freedom to choose’ and ‘image-making’ processes that take place daily in our endlessly mediated consumer culture.


Earl Gravy

Series Entry 10.4


Description

Series_10

Adler & Edmark and Earl Gravy

Series 10 kicks off a month-long residency on Pair Shaped for artist duos, Adler + Edmark and Earl Gravy. This original series developed through a process somewhat modified from the standard dialogue format employed for previous Pair Shaped projects:

1). Adler + Edmark submitted a set of created images.

2). Earl Gravy then selected a single representative image from the provided set to serve as Entry 1.

3). Following in turn, Earl Gravy created and submitted an entirely new set of images in response to the opening contribution.

4). Adler + Edmark selected a representative entry from this new set to serve as Entry 2.

The same process applied for series entries 1-8. For the ninth and final entry of Series 10, all of the previously unselected images from the exchange are published en masse as an enormous archive of collaborative ‘refuse’.

For the featured imagery, quotidian household items mix with assorted beach paraphernalia. Digital recreations follow in the wake of ‘real’ inflated dolphins. Then, all come bursting forth in a deluge of reminders and remainders. Decontextualized objects combine into unexpected assemblages of new significance and meaning.

Part perversion of choice, part graphic chaos, the creative dynamic at play systematizes the act of selection, only to ultimately subvert the arbitrarily established controls. Originally conceived with the title prompt of “LA Light and Water”, theseries initially nods to attempts at distilling the elemental, or performing an essential operation of perceived value (as if a municipal utility company), then undermines the credibility and purpose of such an inherently unstable organizational framework. The result is an absurdist take on the illusory ‘freedom to choose’ and ‘image-making’ processes that take place daily in our endlessly mediated consumer culture.


Adler & Edmark

Series Entry 10.5


Description

Series_10

Adler & Edmark and Earl Gravy

Series 10 kicks off a month-long residency on Pair Shaped for artist duos, Adler + Edmark and Earl Gravy. This original series developed through a process somewhat modified from the standard dialogue format employed for previous Pair Shaped projects:

1). Adler + Edmark submitted a set of created images.

2). Earl Gravy then selected a single representative image from the provided set to serve as Entry 1.

3). Following in turn, Earl Gravy created and submitted an entirely new set of images in response to the opening contribution.

4). Adler + Edmark selected a representative entry from this new set to serve as Entry 2.

The same process applied for series entries 1-8. For the ninth and final entry of Series 10, all of the previously unselected images from the exchange are published en masse as an enormous archive of collaborative ‘refuse’.

For the featured imagery, quotidian household items mix with assorted beach paraphernalia. Digital recreations follow in the wake of ‘real’ inflated dolphins. Then, all come bursting forth in a deluge of reminders and remainders. Decontextualized objects combine into unexpected assemblages of new significance and meaning.

Part perversion of choice, part graphic chaos, the creative dynamic at play systematizes the act of selection, only to ultimately subvert the arbitrarily established controls. Originally conceived with the title prompt of “LA Light and Water”, theseries initially nods to attempts at distilling the elemental, or performing an essential operation of perceived value (as if a municipal utility company), then undermines the credibility and purpose of such an inherently unstable organizational framework. The result is an absurdist take on the illusory ‘freedom to choose’ and ‘image-making’ processes that take place daily in our endlessly mediated consumer culture.


Earl Gravy

Series Entry 10.6


Description

Series_10

Adler & Edmark and Earl Gravy

Series 10 kicks off a month-long residency on Pair Shaped for artist duos, Adler + Edmark and Earl Gravy. This original series developed through a process somewhat modified from the standard dialogue format employed for previous Pair Shaped projects:

1). Adler + Edmark submitted a set of created images.

2). Earl Gravy then selected a single representative image from the provided set to serve as Entry 1.

3). Following in turn, Earl Gravy created and submitted an entirely new set of images in response to the opening contribution.

4). Adler + Edmark selected a representative entry from this new set to serve as Entry 2.

The same process applied for series entries 1-8. For the ninth and final entry of Series 10, all of the previously unselected images from the exchange are published en masse as an enormous archive of collaborative ‘refuse’.

For the featured imagery, quotidian household items mix with assorted beach paraphernalia. Digital recreations follow in the wake of ‘real’ inflated dolphins. Then, all come bursting forth in a deluge of reminders and remainders. Decontextualized objects combine into unexpected assemblages of new significance and meaning.

Part perversion of choice, part graphic chaos, the creative dynamic at play systematizes the act of selection, only to ultimately subvert the arbitrarily established controls. Originally conceived with the title prompt of “LA Light and Water”, theseries initially nods to attempts at distilling the elemental, or performing an essential operation of perceived value (as if a municipal utility company), then undermines the credibility and purpose of such an inherently unstable organizational framework. The result is an absurdist take on the illusory ‘freedom to choose’ and ‘image-making’ processes that take place daily in our endlessly mediated consumer culture.


Adler & Edmark

Series Entry 10.7


Description

Series_10

Adler & Edmark and Earl Gravy

Series 10 kicks off a month-long residency on Pair Shaped for artist duos, Adler + Edmark and Earl Gravy. This original series developed through a process somewhat modified from the standard dialogue format employed for previous Pair Shaped projects:

1). Adler + Edmark submitted a set of created images.

2). Earl Gravy then selected a single representative image from the provided set to serve as Entry 1.

3). Following in turn, Earl Gravy created and submitted an entirely new set of images in response to the opening contribution.

4). Adler + Edmark selected a representative entry from this new set to serve as Entry 2.

The same process applied for series entries 1-8. For the ninth and final entry of Series 10, all of the previously unselected images from the exchange are published en masse as an enormous archive of collaborative ‘refuse’.

For the featured imagery, quotidian household items mix with assorted beach paraphernalia. Digital recreations follow in the wake of ‘real’ inflated dolphins. Then, all come bursting forth in a deluge of reminders and remainders. Decontextualized objects combine into unexpected assemblages of new significance and meaning.

Part perversion of choice, part graphic chaos, the creative dynamic at play systematizes the act of selection, only to ultimately subvert the arbitrarily established controls. Originally conceived with the title prompt of “LA Light and Water”, theseries initially nods to attempts at distilling the elemental, or performing an essential operation of perceived value (as if a municipal utility company), then undermines the credibility and purpose of such an inherently unstable organizational framework. The result is an absurdist take on the illusory ‘freedom to choose’ and ‘image-making’ processes that take place daily in our endlessly mediated consumer culture.


Earl Gravy

Series Entry 10.8


Description

Series_10

Adler & Edmark and Earl Gravy

Series 10 kicks off a month-long residency on Pair Shaped for artist duos, Adler + Edmark and Earl Gravy. This original series developed through a process somewhat modified from the standard dialogue format employed for previous Pair Shaped projects:

1). Adler + Edmark submitted a set of created images.

2). Earl Gravy then selected a single representative image from the provided set to serve as Entry 1.

3). Following in turn, Earl Gravy created and submitted an entirely new set of images in response to the opening contribution.

4). Adler + Edmark selected a representative entry from this new set to serve as Entry 2.

The same process applied for series entries 1-8. For the ninth and final entry of Series 10, all of the previously unselected images from the exchange are published en masse as an enormous archive of collaborative ‘refuse’.

For the featured imagery, quotidian household items mix with assorted beach paraphernalia. Digital recreations follow in the wake of ‘real’ inflated dolphins. Then, all come bursting forth in a deluge of reminders and remainders. Decontextualized objects combine into unexpected assemblages of new significance and meaning.

Part perversion of choice, part graphic chaos, the creative dynamic at play systematizes the act of selection, only to ultimately subvert the arbitrarily established controls. Originally conceived with the title prompt of “LA Light and Water”, theseries initially nods to attempts at distilling the elemental, or performing an essential operation of perceived value (as if a municipal utility company), then undermines the credibility and purpose of such an inherently unstable organizational framework. The result is an absurdist take on the illusory ‘freedom to choose’ and ‘image-making’ processes that take place daily in our endlessly mediated consumer culture.


Refuse Bin

Series Entry 10.9


Description

Series_10

Adler & Edmark and Earl Gravy

Series 10 kicks off a month-long residency on Pair Shaped for artist duos, Adler + Edmark and Earl Gravy. This original series developed through a process somewhat modified from the standard dialogue format employed for previous Pair Shaped projects:

1). Adler + Edmark submitted a set of created images.

2). Earl Gravy then selected a single representative image from the provided set to serve as Entry 1.

3). Following in turn, Earl Gravy created and submitted an entirely new set of images in response to the opening contribution.

4). Adler + Edmark selected a representative entry from this new set to serve as Entry 2.

The same process applied for series entries 1-8. For the ninth and final entry of Series 10, all of the previously unselected images from the exchange are published en masse as an enormous archive of collaborative ‘refuse’.

For the featured imagery, quotidian household items mix with assorted beach paraphernalia. Digital recreations follow in the wake of ‘real’ inflated dolphins. Then, all come bursting forth in a deluge of reminders and remainders. Decontextualized objects combine into unexpected assemblages of new significance and meaning.

Part perversion of choice, part graphic chaos, the creative dynamic at play systematizes the act of selection, only to ultimately subvert the arbitrarily established controls. Originally conceived with the title prompt of “LA Light and Water”, theseries initially nods to attempts at distilling the elemental, or performing an essential operation of perceived value (as if a municipal utility company), then undermines the credibility and purpose of such an inherently unstable organizational framework. The result is an absurdist take on the illusory ‘freedom to choose’ and ‘image-making’ processes that take place daily in our endlessly mediated consumer culture.