In Science Fiction, technology and scientific data become aesthetic tools for re-imagining the possible. Digital media readily interacts with traditional media, bringing the sleek language of technological production into close contact with the more visceral language of mark-making and sculpting. Wormholes, asteroids, and planets—entities that are at once familiar and foreign—recur as motifs, shooting through space, twisting in on themselves, or introducing an array of kaleidoscopic color.

Science Fiction takes the cosmos as its subject, but the exhibition is far more introspective than galactic. It surveys cosmic space in order to understand personal space, turning expansive images of galaxies and solar systems into intimate reflections of the human psyche.

A subtle thread of personal narrative runs through Science Fiction, prompting the private need for self-revelation to interact with a more gaping human need for order and understanding. Ultimately, Wysong portrays science as unreliable—not as unfounded, but as anxious, abstract, and uncertain, just like life in general. The work in Science Fiction is not melancholic, however. On the contrary, it’s optimistic. It suggests that, even if the ramifications of science elude us, visual explorations, seductively abstract images, playful interfaces, and eloquent rendering of peculiar spaces can bring us closer to understanding the mysteries of our own internal cosmic universes.