Adam Grainger

Bio: Adam Grainger is a Curator, Artist, and Organiser based in Nottingham. He co-curates Four/Four and, and is currently Studio Manager at One Thoresby Street.


Instagram: @a.grngr

Multiple images arranged on a white background, the images present a map of visual research, with subject ranging from the deepwater horizon disaster, and piscine reovirus, to Bas Jan Ader and Black Metal


A black and white photo showing a steep hill and cliff face by the sea, printed out on printer paper, sitting centrally and filling half the page. The paper is sandwiched between two sheets of clear acetate, held together by silver bulldog clips at top and bottom. The upper clip hangs off a pin in a white wall.


Two posters presented on a digital background of light grey cloud cover. The posters have dark black and white backgrounds of dense clouds, and in their centres sit the words 'TAKE MY ARMS', and 'INFINITE HEROISM' in bright yellow Gill Sans font.


Should the Light Take Us

A collage of images and text, the background is an aerial view of an oil spill in bright turquoise water, and layered on top of this are two images of pelicans covered in oil, mouths agape. Below each image is yellow text relating Oil Spills to Prometheus, depression and the corpse of humanity.

Well of Grief

A stack of white a4 printer paper is placed upon a roughly a3 sized piece of birch plywood, held down by a rock on the upper section of the paper. Taking up half of the paper there is a centrally placed, black and white, heavily compressed image of a hand and a sleeve. The hand looks to be held close to the body, and loosely points towards the top left of the image. This installation is placed on a clod in a grassy field, and is surrounding by green and yellow tufts.

Accessible Edition

A skylight is seen central to the image, from a low view to the left. On the skylight two A4 acetate images are taped, one above the other. They have black cloudy backgrounds, punctuated by suns in the middle. The upper image reads 'Here Comes the Sun', and the lower reads 'It's Alright'. The sky beyond the window is a drab grey, and the walls cannot be seen for how dark the room is.

Here Comes the Sun (Through the Skylight)

A narrow landscape orientation image shows four evenly spaced black and white digital images on a misty blue background of clouds and hills. The grey images are very pixelated, obscuring a lot of their content. They show (left to right): 
3 men in v formation wearing military outfits, their faces covered and holding rifles. 
A group of Amish people building a barn, they are all scaling different beams at height. 
The burnt out, crumbling remains of a Norwegian Church.
A castle gate, made of two conjoined towers and a portcullis.

Grey Blur (#63, 64, 65 & 68)

A digital image, showing two columns of research (one of images, one of text), on a pixelated background of blood in water. Images show gore pouring from an underwater pipe, a school of salmon, biological diagrams showing symptoms of Piscine Reovirus, and and fillet of salmon with a black lesion. Text includes a quote from a Vice article, a listing of thought processes and jumps, a work in progress text about Miasmas, and a quote from a scientific article detailing lesions.

Research: Blood from the Blood Pipe

A Useful Tool: Studio Manager's FAQs

A collage is held up with a bulldog clip on a white studio wall background, filling most of the image. The collage is laminated, with a dense black graphite covered paper background. In the top left is a dark image of sprouting potatoes, in the top right, a selection of real, small flowers, some yellowed by the laminating process, in the bottom of the image sits a white rectangle containing a squiggly orange line: path data from walking app Strava. The lamination is creased and not fully sealed thanks to the thickness of the flowers, creating ripples and reflections on the works surface.

Partial Pathing / Actualisation

A collage of images and text shows shadowed hands holding the unideal manifesto in booklet form. The main image shows the front cover, and a smaller embedded image shows two inner pages, one with text, another with a black and white image of the cover of Mayhem's 'Dawn of the Black Hearts'. Three sentences surround the hands in clumps, reading:  ‘YOUR  ART SHOULD ENDANGER YOURSELF: YOUR FINANCES, YOUR RELATIONSHIPS, AND MOST IMPORTANTLY YOUR VITALITY’,  ‘SUPPORT ALL OTHERS IN THE DEVELOPMENT OF THEIR PRACTICE, NOT ONE PERSON ABANDONED TO MEDIOCRITY’ and ' ‘YOUR OEUVRE MUST END IN YOUR DEMISE’

Unideal Manifesto