This tool is a hand-held cnc and it’s like a very very slow router video game, but instead of dying you wreck the thing you’ve been cutting out for the past couple hours.

Back in 2020, I made a set of stickers using images from Manic Castle Hash, cut them from brushed-chrome vinyl on the same vinyl cutter I’d used to make the mural, and sent them out as a bit of art mail to some friends, colleagues, and awesome people. It’s been an unexpected joy to find out where they went, with the evidence still trickling in — only wish I had more of the rather ephemeral snapshots at hand.

Many of the stickers remained pristine on their original backing. But others seem to have been attracted to technological devices, doors and windows, David Bowie, and surfaces within arm’s reach of children. Could not be more delighted with these discoveries.

In conjunction with my ongoing exhibition Inverted Dome at the MAK Center for Art and Architecture, Mackey Garage Top, I’m releasing a series of fully digital studies that further advance ideas touched on within the exhibition. The fourth and final work in this series is Chimera.

Digital Study #4 (Chimera), 2022

A chimera is an organism composed of multiple tissues with different genetic composition. In Greek mythology, a chimera is a hybrid being — part lion, goat, and snake. As an animation, Digital Study #4 (Chimera) morphs between three states in an infinite loop, reflecting an otherwise unseen backdrop all the while.

The full series of digital works, catalog essays, documentation of the installation, and more will be included in the forthcoming Kristin Posehn: Inverted Dome publication — save the date for the publication release on April 29, 2022 at the MAK Center for Art and Architecture Schindler House.

In conjunction with my ongoing exhibition Inverted Dome at the MAK Center for Art and Architecture, Mackey Garage Top, I’m releasing a series of fully digital studies that further advance ideas touched on within the exhibition. The third in this series of four works is Training Phantom.

Digital Study #3 (Training Phantom), 2022

Excerpt from a forthcoming interview with exhibition curator Aurora Tang:

TANG: How do you see these digital studies in relation to the physical exhibition?

POSEHN: It’s been a back-and-forth evolution. As I was fabricating the sculpture, installing, and then documenting it, I was also 3D modelling the gallery. It was fascinating to be in the gallery and observe how light falls in the space at different times of day, and then go to my studio and juxtapose that with how light was being rendered in the 3D environment I was building. The conversations we’ve had in the gallery and responses from visitors have brought up new ideas that are filtering into the studies. It’s been a way for the work to continue to unfold, respond, and reflect in real time.