Adeline Rhall

This piece, "Split," was an experiment in portraiture: how could I take a self-portrait of my reflection that hides both the camera and all of my features? It's a picture of my backlit reflection in an interior window. 8.5x11"; tech specs are MF / 50mm lens / f/5.6 / ISO 200 / 1/50 second. Taken on 10/7/2025. Unedited picture (originally 12x18") on the last slide.

This is a piece about death. It was made on 1/28/2026, at a time when my parents' cat, Mimzy—the cat I grew up with—was 18 years old and in failing health. This got me thinking about my own cat, Meowstner (last slide, original picture), and how pets in general can have such an outsized impact on our lives for the little time we spend with them. The piece employs generation loss (the tendency for lossy images to degrade over time with repeat saves) as its main design motif, and in this case my process was entirely manual: 355 no-quality saves in a successive chain of alternating JPEG-1 and WEBP formats, with each additional save pushing Meowstner further and further toward the point of complete abstraction. Meowstner is still young and full of life, but Mimzy died a couple weeks ago and I'm not sure whether I've fully processed it yet. 12x16".

This is called "Flesh;" I started it in Desmos and finished it in Photoshop by rotating it, overlaying it with itself, recoloring, and touching it up in a few other ways. It's mostly signum functions and some equations that make my phone unhappy to load. 22x17"; created 11/8/2024

I took the most prominent original photo for this on 8/14/2018, although it's kind of a photocomposite of 3 separate pictures and started off as me trying to make glitch art of a clock on an oven. I dunno either. Shot in York PA and titled "This Thing All Things Devours," it measures 10x8" and I finished it on 2/24/2019.

This is a picture of a particularly vivid sunset reflected in the windows of MICA's brown building. I edited it to bring out the color and brighten it up a bit, but you can see the original in the last slide. It's titled "Qualia." The tech specs are MF / 50mm lens / f/3.5 / ISO 400 / 1/60 sec. It's 18x12" and I took it on 9/30/2025.

This is titled "Mack." It's a portrait of someone I knew briefly when I studied at Temple University. I had him move his face on the scanner while it scanned, then heavily edited the resulting picture with a lot of overlays and other adjustments. No original photo this time for privacy reasons, not to mention the fact that scanner photography almost universally makes people's faces look downright preposterous. The piece measures 17x22", and I made it on 2/3/2019.

This is called "Starless Night." It's an elaborate photocomposite project made of several landscape shots I took during my high school graduation trip to Colorado (pics 5-9), plus some pictures of a blackboard from a high school english class that have since been lost to time. The original image measures 18x12," and I created this piece at some point in 2018.

This is called "Zebra." It's scanner photography of an advertising brochure that I touched up a bit in Photoshop. The glitch effects and color shifting in the original picture (the last one) come from moving the brochure around on a scanner with a CCD sensor while it scanned. Created on 8/28/2025.

This is titled "Goose Chase." It's an experiment with an ambiguous figure-ground relationship where every single thing in the collage is a picture I took of a goose or a duck. I made this on paint.net with a loaner laptop that couldn't run Photoshop and I did a poor job with documentation, so I don't have any original geese/ducks from the collage. Still, here are some assets I isolated and posterized (pics 5-9) that went into the final collage. I made this on 9/9/2025.

I have a huge backlog of work to upload to social media, so expect more to come soon.