NEW YORK, NY.- Harris Rosenblum’s art investigates the spiritual potential of contemporary alienation. He is interested in craft, post-industrial materiality, manufacturing, and the novel intelligence borne by networks. He is a contributor and moderator for Do Not Research, a digitally native community and publishing platform. Rosenblum is a founding partner of Transcendence Creative, the first 360° corporation with a historical materialist approach to brand identity. In the words of Travis Diehl, “[Rosenblum] works in the niche between nerdiness and saintliness, depicting the struggle for belief itself—a squirm-provoking inquiry in today’s ideological climate.” (New York Times, July 13, 2024).

Four new paintings in Rosenblum’s Lovers series are included in the exhibition. Each work is composed from 40 individually printed polylactic acid plates stitched together into a single image. Rosenblum created custom machine code to manufacture the anisotropic appearance of brushed metal from plastic commonly used in food packaging. As light reflects with a strong directional bias – with and against the grain of the plastic – patterns shimmer and move with the viewer’s position. Each unique work in Rosenblum’s Lovers series depicts, at true-to-life scale, an ancient dual grave of skeleton pairs, exhumed side by side or in a loving embrace, found respectively in Greece, Italy, China and Romania.

Bacchus is a tableau of imps caught in various states of ecstasy, tension or contemplation. Each figure is modeled on motion captured poses from Michael Jackson’s Thriller music video, revealing the expansive potential in otherwise mundane digital marginalia. The imps are presented on a hoof-legged table made of ebonized oak, steel, and printed plastic.

Infinite Pain is a computer running a deterministic neural simulation of a microscopic nematode worm’s brain (c. elegans), subjected to regular pain stimuli. A nematode worm has exactly 302 cells in its nervous system, with two thirds of these forming a ring in its head, making thousands of interconnections. All the electrical and chemical signals exchanged between these neurons are calculated comprehensively and in real time. A mind running on hardware. Rosenblum tests the boundaries of our moral imagination and asks us: if the computer is equivalent to a worm’s mind, is its pain any less real?

Harris Rosenblum (b.1994, Baltimore, MD; lives and works in New York, NY) received his MFA from Kent State University in Kent, OH. Recent solo exhibitions include Ecstasy, Solar Noon, Cincinnati, OH (2024); Inorganic Demons, SARA’S, New York (2023); Relics of the Corrupted Blood, Blade Study, New York (2022). Recent group exhibitions include Intercession, curated by Audrey Min, Hessel Museum of Art, CCS Bard, NY (2025); REANIMATOR, curated by Elizaveta Shneyderman and Anthony Discenza, StoveWorks, Chattanooga, TN (2024); Multi-User Dungeon, curated by Simon Denny, Petzel Gallery, New York (2024); rhi-zome, curated by Adrienne Greenblatt, No Gallery, New York (2023). Rosenblum curated the group exhibition Minotaurs at Foreign & Domestic in 2024.