Amos Eno Gallery, a non-profit artist collective in the Lower East Side, Manhattan, is pleased to present Domestic Tectonics, a solo exhibition in the gallery’s Project Space by Adam Cable. An opening reception is scheduled for Friday, June 20, at 191 Henry St, New York, NY. 

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Cable’s energizing collages transform and remix depictions of home environments, blending physical and emotional associations with the observable world. Through his use of found digital images—ranging from snapshots to commercial textures—and arrangements into perspective-based scenes, these layered works function like a visual puzzle. The image fragments form pictorial metaphors and narratives that conform to or push against the contours of domestic settings, relaying the artist’s feelings of incompatibility within everyday spaces. As these layers slip in and out of their expected places, sometimes frictions burn bright. Other times, unexpected moments of harmony emerge from the image pairings. Domestic Tectonics visualizes how internalized forces define and shape the terrain of awareness, even within seemingly neutral, intimate settings such as the American home. 

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The ten works on view include State of Emergency (Crash), where a test car explodes in a freeze-frame impact, bursting within the outline of an oversized plant against a windowed wall comprised of asphalt, seatbelts, and traffic cone orange. A companion piece, State of Emergency (Collide), encapsulates a maelstrom of grief amidst one’s continued existence in a suddenly remade world. Its similar leafy form now vibrates with barely contained energy, hosting a black-and-white image of lightning bolts as the backdrop reveals a burnt-down neighborhood through the granite-curtained window. In Holding My Breath (Known Conclusions), Cable employs a personal narrative to express the tension between external expectations and internal pressures. A ‘pillow’ form contains a lit match photograph atop an oil-slick-patterned bedspread. Partially enclosed by a bed frame made of timber, the scene plays out against a color-inverted backdrop of an open Christian bible, illustrative of the artist’s self-realization of homosexuality within an evangelical upbringing and its resulting fallout.

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Influenced by the spatial reorganization of early 20th-century Crystal Cubism and crisply outlined paintings of interiors by Brazilian artist Wanda Pimentel, Cable breaks apart and reconstructs pictures to create reimaged spaces that navigate cultural and social values, relationships, experiences, and the built environment. Building on years of using images as malleable raw material, he remaps the familiar through visceral, emotive compositions, delving into how these private—yet publicly influenced—sites engage with and influence the inner lives of their inhabitants. Cable’s work articulates ‘queer domesticity,’ a multifaceted concept about how the home can be both a place of belonging and exclusion, defined by subjectivity and experiences. Author Stephen Vider, in “The Queerness of Home,” notes that “For LGBTQ people, home was the critical site of contact with the conventions of the American family and the gender, sexual, racial, and class norms they consolidated.” We relate to communities and ourselves through the lens of the home. Yet, these connections are often fraught with tension between cultural ideals and the realities of being. 

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Domestic Tectonics portrays perception as constantly shifting ground underfoot. Sometimes, its transitions go unnoticed; at others, the topography transforms abruptly. Nothing is truly static.

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About Artist
Adam Cable (b. 1989) creates vignettes of American domestic life using found digital images. His work entwines perception and narratives into the reconstruction of these environments, highlighting ways that impressions and expectations inform experiences of space. Cable has shown in several group and solo exhibitions, including at The Painting Center, NYC; University of North Carolina, Asheville; PULSE Art Fair, Miami; Local Project, NYC; and The Plaxall Gallery, NYC. He co-curated "Annus Horribilis" with Float Magazine in 2020, a group exhibition of work created that globally significant year, and in 2021, The Wassaic Project included his work in the book Secrets of the Friendly Woods. Cable holds an MFA from the School of Visual Arts (2017) and a BFA from the University of North Carolina, Asheville (2013). He lives and works in Brooklyn NY.