In conjunction with my ongoing exhibition Ghost Pearls at Granary Arts, UT, I’m releasing a series of fully digital studies that further expand ideas touched on within the show. The first in this series of three works is Streaming.

Digital Study #6 (Streaming), 2023

This study was inspired by research into the Ephraim Relief Society, a unique, women-owned and operated organization that played a foundational role in the local community of Ephraim, UT, from 1856 through the early 20th century.

Though little is known about their lives, a series of ledgers kept by the women of the Ephraim Relief Society record their receipt of donations, significant charitable contributions within the local community, attendance at meetings, and snippets of their voices as recorded in meeting minutes.

In this digital study, long chains made of mirror hang side-by-side in the gallery, reflecting back an otherwise unseen exterior world. The series touches on questions of how economic structures, purpose, and community might be linked; forms by which voice is transmitted across time; histories of weaving and early digital art, and more.

My painting Most Mystic is included in Garden, a group exhibition at Ladies’ Room through January 31, 2023.

Most Mystic, acrylic and mica on canvas, 20 x 24 inches, 2020

Kristin Posehn’s paintings are inspired by the reflections of skyscrapers into skyscrapers, a phenomena we can observe in dense financial centers around the world. In her vision, the reflective patterns of these mega-structures become delicate, atmospheric, and haunting glyphs that never repeat. Her paintings change and play in a sly dance with light, evoking languages at once ancient and futuristic.

Ghost Pearls

October 12, 2022 – January 20, 2023

Granary Arts

Ephraim, UT

Ghost Pearls is an architectural sculpture that explores spaces of connection and mediation. The work is based on research into local and historical forms of lace-making, early digital art, and contemporary virtual space.

The sculpture is made from 1,005 pieces of rigid, individually cut mirror that are woven into an open, lace-like form, and suspended from the central beam of the gallery. As mirror, the work reflects both the viewer and surrounding architecture in an experiential play that raises questions of mediation and virtuality.

Ghost Pearls references lace in the collection of the Fairview Museum; conversations with local and regional lace-makers; historical links between lace, value, and time; the 1964 digital artwork Ninety Parallel Sinusoids with Linearly Increasing Period by A. Michael Noll; and works of the Light and Space movement.

Today I’m launching a Substack called The Pamplet. It’ll be a space for letters on art, mind, feels, tech takes, semi-ridiculous self-help, varieties of mystical experience, and whatever else strikes my enthusiasms.

Movable type debuted across Europe from ~1450 on, and in its wake a new form of cheap, mass-scale, short-form publication known loosely as pamphlets spread like wildfire. As we know, these innovations upset the information environment status quo, and it took a few centuries to jostle out a new balance of power. Our time has parallels, though perhaps we’re living it at 10-100x. We have type at the speed of light, with nigh-infinite recomposability—and the party’s just getting started.

Seems like a nice moment to get out on the dance floor. Browse and/or subscribe here. Hot topics for future pamplets:

Grateful to writer Raleigh Barrett and NoHoArts for this interview on Inverted Dome.