One might enjoy being in romantic relationships, but only theoretically: a lithromantic — from the Greek lithos meaning stone.

The whole ubicomp environment, dust-sized chips, and utility fog and hazy clouds of diamond-bright optical processors in the soil and the air and her skin.

“You could very realistically imagine uploading into it,” he said.

In the main exhibition space: a plenum of fog and light — a kind of sculptural casting. Storefront windows generally represent a place of potential or suspended desire.

In the gallery’s backroom, two prints and a mirror are installed.

The prints have been realized using custom software that interlaces images without changes in opacity. The process weaves them into a new whole: a ghostly apparition of a totality; seeing everything at once.

A portrait-oriented mirror — the dimensions sufficient to encompass a human torso — has a hole punched out of it where one’s head might appear. This echoes a familiar horror trope: the decoupling of one’s mirror image with one’s body; a missing reflection.

As we continue to move, the void remains still.