ON THE EDGE OF THE INFINITE
PART X
Sue Beyer
Ian Breidenbach
Blake Marques Carrington
Andrew Carter
Luvinha

Images no longer stay where they are supposed to. They leave the screen, take on physical presence and materiality. On the other hand, everyday we digitize our lives. With every photo, share, or stream, our experiences become compressed, flattened, stored and distributed. In this feedback loop, the digital lives among us, while the physical world adopts the logic of the screen. On the Edge of the Infinite, Part 10 brings together artists whose works oscillate between these states, where the virtual and the embodied no longer stand apart, but continually translate into one another. 

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If contemporary culture is increasingly drifting toward forms of information untethered from objecthood, these artists reverse that flow. Across the exhibition, screens extend into sculptural surfaces, mechanical systems, painterly translations, and immersive experiences. Pixels become texture and light becomes architectural, psychological and emotional. The result is a set of works that capture moments where the virtual and the real feed back in a continuous cycle. 

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Andrew Carter’s machinery, motions, sounds and screens do not feel frictionless or abstract, but blunt, mechanical, and very much of-this-world. Blake Marques Carrington creates interactive, real-time visual environments that transform emotion, perception, and atmosphere into color, sound and light. Luvinha’s glowing rock-like forms and screen-based images fold digital representation back into tactile presence. Her work suggests that the screen does not simply depict the world, but can integrate back into it as an autonomous presence. Sue Beyer translates screen imagery back into object and surface, staging an intimate conversation between pixel and painted surface, imbuing the digital with an unexpected tenderness. Ian Breidenbach’s The Ferryman’s Chaos Engine treats cinema as an archive of speculative survival tools. In his post-apocalyptic framework, films become test cases for collapse and reconstruction.

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Together, these artists map a continuum in which the digital does not remain separate from lived reality, but enters into it as an active force taking hold in objects, images, and ways of seeing. On the Edge of the Infinite Part 10 traces this exchange through physical, spatial, and emotional form. If, as Arthur C. Clarke proposed, science fiction helps prepare us for impending worlds, this exhibition suggests that such a world is already emerging in the images, systems, and environments that surround us.