Isabelle Grosse's "Structures in Chaos" interrogates our faith in rationality, the assumption that reason governs daily life. She probes whether what we call "rational" is merely a flawed construct whose glitches we willfully ignore to maintain the illusion of order and security. Her subjects are naturally chaotic materials, jumbled candies and Legos, garbage, hair on floors, beached coral, spent coffee capsules, scattered debris onto which she imposes her Outlining technique until the gesture turns absurd.

By overlaying mock structure onto randomness, Isabelle Grosse suggests that our systems for organizing life are fundamentally arbitrary.

The series branches into sub-series. One traces consumption's full arc: candy awaiting purchase, used Nespresso capsules, vacuum dust before disposal, and collective refuse in wastelands.

Another sub-series examines activity and interaction through remnants of engagement: scattered Legos signal the end of children's play, hair on a salon floor marks the service contract between hairdresser and client, and masses of love locks attest to collective ritual.

By shredding iconic works of literature like Hamlet in its original English Isabelle Grosse points to the way -  based on a fragment - we understand an enormous piece of art. In the same way, the handmade mess of smileys point to another example of simplistic communication - this time, the rampant use of a single emoticon to convey complex feelings.