[{"data":1,"prerenderedAt":110},["ShallowReactive",2],{"exhibition-short-vamps-for-long-wear":3},{"artistBio":4,"gallery":49,"slug":69,"dateFrom":72,"showName":73,"_id":74,"dateTo":75,"exhibitionText":76,"artistName":109},[5,16],{"children":6,"_type":12,"style":13,"_key":14,"markDefs":15},[7],{"_type":8,"marks":9,"text":10,"_key":11},"span",[],"ADAM LEWIS JACOB is an artist and filmmaker based in Glasgow. Working across sculpture, moving image, and publication, his work is guided by the people he meets and the relationships that form. Attracted to overlooked figures, outsiders, and subcultures, he is interested in processes of transformation, circulation, and repair. He treats exhibitions as active environments in which artworks, display systems, publications, research materials and the work of others exist in dialogue, allowing distinctions between object and support, finished work and experiment, authorship and collaboration to remain deliberately unstable.","aadbb4e6f9b4","block","normal","566ef1bc1287",[],{"_key":17,"markDefs":18,"children":19,"_type":12,"style":13},"db0104c240e2",[],[20,24,29,33,37,41,45],{"marks":21,"text":22,"_key":23,"_type":8},[],"He has presented solo exhibitions and screenings at Tokyo Arts and Space, Tokyo (2025); Bagnoler, Paris (2023); Edinburgh Sculpture Workshop (2023); LUX, London (2022); Vivid Projects (2022); Peak, London (2020); CCA Glasgow (2019); and the Edinburgh Art Festival (2018). His work has been included in exhibitions and screenings at David Dale Gallery and Studios as part of Glasgow International (2026); ","a03922dda46a",{"_key":25,"_type":8,"marks":26,"text":28},"e68170bbdeef",[27],"em","Systema ",{"text":30,"_key":31,"_type":8,"marks":32},"at Palais Carli, Marseille (2025); Glasgow Short Film Festival (2022); Berwick Film and Media Arts Festival (2021); Alchemy Film and Moving Image Festival (2021); Viborg Kunsthal, Denmark (2021); Ann Arbor Film Festival (2020); LUX, London (2018); Studio 55, South Korea (2017); the Duolun Museum of Contemporary Art, Shanghai (2017), and Kochi-Muziris Biennale, Kochi (2016). He was the recipient of the British Council’s Connections Through Culture Grant (2024), multiple Creative Scotland Open Project Fund awards, and the BBC/LUX Now & Next Commission (2019). He was selected for the Mountain School of Arts program in Los Angeles in 2011 and completed his MFA at the Glasgow School of Art in 2015, including an exchange at Piet Zwart Institute in Rotterdam. Jacob is a co-founder of the artist-run space Céline (2015–2025) and recently established G.G.'s, an artist-led project organising exhibitions, screenings and publications. Through G.G., he has curated exhibitions as part of Glasgow International and ","70dd71c974b4",[],{"_key":34,"_type":8,"marks":35,"text":36},"17f2e4ffd898",[27],"Systema",{"text":38,"_key":39,"_type":8,"marks":40},", Marseille. He is currently completing ","f017de868d9f",[],{"_key":42,"_type":8,"marks":43,"text":44},"b364fb0c2239",[27],"Savage World",{"_key":46,"_type":8,"marks":47,"text":48},"987eb8fd9e5f",[],", a new film commissioned by Doc Society/BFI about artist, musician and writer Edwin Pouncey, aka Savage Pencil, a key figure in the British underground whose work spans post-punk, comix, noise music and independent publishing.",[50,54,58,61,65],{"caption":51,"asset":52},"Installation view",{"_ref":53},"image-c96c7478520925ee2074f99504f850ca352c6ec9-3600x2400-jpg",{"asset":55,"caption":57},{"_ref":56},"image-c7657cc8a70e39004df924e86c4c8af1f2f2a0b2-2400x3600-jpg","Adam Lewis Jacob, Honghue 606, 2026",{"asset":59,"caption":57},{"_ref":60},"image-af67ad68a5aa8363939be911043293689df9cd9e-2400x3600-jpg",{"asset":62,"caption":64},{"_ref":63},"image-145fdd784f2ce4b961ecfac6ae38d6ffb8ff7982-2400x3600-jpg","Adam Lewis Jacob, Sketch for a Disco Podium, 2026",{"asset":66,"caption":68},{"_ref":67},"image-58ef021bbae3c8b86e60aca0db628d117563c658-2400x3600-jpg","Adam Lewis Jacob, Lil' Bow Peep Toe, 2026",{"current":70,"_type":71},"short-vamps-for-long-wear","slug","2026-09-11","Short Vamps for Long Wear","a285f166-d934-420f-a45e-4e9caf18d019","2026-10-24",[77,85,93,101],{"_type":12,"style":13,"_key":78,"markDefs":79,"children":80},"26084f7872e5",[],[81],{"marks":82,"text":83,"_key":84,"_type":8},[],"NEVEN presents a solo exhibition by Adam Lewis Jacob, centred on a series of sculptural works made from worn and discarded footwear, shown within an installation conceived for the gallery.","32671ad4b842",{"_type":12,"style":13,"_key":86,"markDefs":87,"children":88},"3fa2e52386f7",[],[89],{"text":90,"_key":91,"_type":8,"marks":92},"Rooted in processes of fragmentation and montage, Adam’s practice assembles meaning through cut-up techniques and the rearrangement of found, archival, and self-produced material. His shoe sculptures extend this logic, transforming existing, lived-in objects already marked by use and circulation through dismantling, inverting, binding, ripping, twisting and reconstructing. In the process, unexpected details emerge: a vibrantly coloured midsole, manufacturer codes, loose threads, the uneven patina of old glue. Elements usually concealed become the artworks' surfaces. Adam names the sculptures after words and numbers uncovered within: makers’ marks, fragments of place names and production codes, many of which point to Chinese manufacture while borrowing the language of European luxury, are recombined into titles that sound simultaneously familiar and strange.","1c0a1ab844bf",[],{"children":94,"_type":12,"style":13,"_key":99,"markDefs":100},[95],{"_type":8,"marks":96,"text":97,"_key":98},[],"Arguably the most bodily of everyday objects, shoes carry dense social and psychological associations. At once intimate possessions and mass-produced commodities, they move through systems of manufacture, distribution, use and disposal, accumulating both personal histories and broader economic, social and cultural implications. The high-heeled shoe in particular carries legacies of class, labour, sexuality and performance, yet Adam’s interventions disrupt it as both functional commodity and object of desire, its seductive surface giving way instead to exposed indexes of industry and circulation.","629ec5476f2e","ad649042fe69",[],{"_type":12,"style":13,"_key":102,"markDefs":103,"children":104},"8ae25d3b85c0",[],[105],{"_type":8,"marks":106,"text":107,"_key":108},[],"The process of unmaking runs throughout the exhibition. Rather than concealing the practical processes of exhibition making, the show’s creation becomes its guiding logic. Offcuts of plasterboard used to build the plinths remain in the space. Storage and transit boxes, sourced from the Scottish-Italian restaurant beneath Adam’s studio complex in Glasgow, become display devices and containers for remnants cut from the shoes. These small feedback loops connect the making and exhibiting of the works to wider cycles of production, circulation, use and reuse.","4b88c9299d18","Adam Lewis Jacob",1789273722414]