ON THE EDGE OF THE INFINITE PART VII
Featuring:
​Angela Ferraiolo
Blinn and Lambert
Harley Ngai Grieco
Maya Perry

March 15 | The Active Space, 566 Johnson Avenue, Bushwick, 6 - 9 pm

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On the Edge of the Infinite, Part VII features work by Blinn & Lambert, Angela Ferraiolo, Harley Ngai Grieco, and Maya Perry. Each project moves through cycles of iteration, variation, and repetition—not seeking fixed meanings, but learning through permutation along the shifting peripheries of recognition and uncertainty. Together, their works propose that knowledge may emerge not from stasis but rather from continuous transformation: change as its own type of awareness.

The 16mm superpositions of Blinn and Lambert—the collaborative duo of Nicholas Steindorf and Kyle Williams—use the moving image as a fluid counterpoint to the possibility of representation as an accurate reflection of reality. Juxtaposing analog and digital techniques, they reveal the fine line between understanding and confusion to be more of a hypnotic dreamspace to linger within rather than a puzzle to resolve.

Harley Ngai Grieco’s Lattice Gaze series employs cyanotype exposures and botanical toning to reinterpret landscape photography through the intricate patterns of Chinese lattice architecture, exploring the boundaries of perception through seemingly infinite permutations. Grieco’s meticulous layering of positive and negative space creates a recursive process of discovery, where understanding emerges from the countless possibilities and patterns revealed by iterative acts of perception.

Angela Ferraiolo’s generative computational video, Three Forms, presents evolving synthetic entities whose behaviors emerge directly from their physical geometries. Using embedded AI, these forms shift and adapt in response to their own structural changes, with memory subtly influencing their decisions. Ferraiolo’s work raises questions about whether a shape can learn to think—and whether thought itself arises from continuous physical transformation.

Maya Perry’s iterative cycles of voice and guitar loops and projected animations transform personal narratives into abstracted, immersive experiences. Repetition becomes a means of emotional amplification exploring how fluid, repeated gestures can generate new meaning. O'Perry's work suggests that understanding emerges not through resolution, but through the gentle persistence of change through which transformation can be a form of knowing, an awareness that persists precisely because it remains unfinished.

For one night only, On the Edge of the Infinite, Part VII unfolds as a space where the knowable is never fixed, but continually reshaped—an ongoing process of perception, attention, and lived awareness rather than static knowledge.