April 4 - May 24 | 2026
April 12 | Opening Reception | 1-4pm | Artist Panel 2pm
April 18 | 2pm | Examining New Technologies in Art
May 9 | 2pm | Museum of Art + Light Discussion
From Volland:
Full disclosure: we're learning too. ART | Reimaginations brings to Volland the challenges and questions many artists and art stakeholders experience around digital tools. In producing this exhibition, which was shepherded by Clive Fullagar and the Museum of Art & Light, Volland got a small taste of these new developments.
We are reminded that artists are often some of the first to adopt new methods/technologies/mediums, using them in ways lay persons haven't yet discovered. Digital tools are just the latest development to be embraced - wholeheartedly or apprehensively, completely or strategically - by artists in their practice. This exhibition establishes a spectrum of the relationship between the artist and digital tools.
From Clive Fullagar:
ART | Reimaginations brings together five artists who work across a spectrum of digital tools - from tablets and image-editing software to AI-assisted systems. This work challenges the popular belief that artificial intelligence replaces human authorship.
Rather than treating AI as an autonomous creator, the exhibition foregrounds the layers of decision-making, intervention, and judgment that shape each work. Here, digital tools are not authors but mediators: instruments that extend, compress, or complicate artistic process without eliminating intention, responsibility, or meaning.
By placing works of differing technical dependency side by side, the exhibition reveals mediation as a matter of degree, not kind. The show asks viewers to look past the myth of effortless automation and consider where authorship actually resides: in choice, constraint, revision, and risk. What emerges is a story that these digital tools can serve as powerful mediums to expand the boundaries of creativity, giving artists new ways to experiment with form, color, and composition.
ARTIST BIOs and STATEMENTS
BARRY ANDERSON
Barry Anderson works in video, photography, sound, and installation. His work has been featured in over 50 solo exhibitions and over 100 group exhibitions around the US and abroad. His work is also included in museums and numerous public and private collections around the country including the Everson Museum of Art, the Kemper Museum of Contemporary Art and the Nerman Museum of Contemporary Art. His current projects are Fragments of Space, a series of videos and prints exploring psychological space in abstract form and content, and Lucite Plains, a music and performance collaboration with Ricky Allman.
POLYCHROME RIFT
This series of print and video works comes out of my interests in spatial design, generative art, and hauntology. The works are meant to be nostalgic evocations of shards and fragments of future relics, windows into an alternate reality. This concept is influenced by both Derrida’s notion of hauntology as the inability to escape the specters of the past as well as the retrofuturist music of Boards of Canada and the artists on the Ghost Box label in turn of the 21st century UK.
Beginning with images of nonsensical architectural spaces created in 3D design software, the final visual content in the work is created by blending these initial images using AI tools. AI image generation and processing, and its ability to generate, average, and distort visions of reality, is a perfect technical and conceptual vehicle for the hauntological underpinnings of the work. The blending of the original, virtual imagery, and the inherent averaging that comes from the learning model of the AI, often leads to uncanny visions of spaces that could have existed in alternative future realities.
This process often feels like a collaboration with the AI due to the unexpected, generative nature of each image process. While I am controlling the image input, the AI lends its own translation and synthesis. By feeding the model with images that do not represent coherent “realities” I actively seek ways of making the AI “hallucinate,” pushing the learning model to bypass the real or the rational.
After image sets are created with the AI, the images are collaged into more fractured, composite spaces that are then split into multiple shapes to be printed directly to Dibond, an aluminum surface with a plastic substrate, further pushing the work towards uncanny future remains. The augmented reality (AR) animation overlays applied to selections of the work in the series take this idea even further still while also adding a deeper level of engagement with the viewers.
DYLAN CONNELL
Dylan Connell is a documentary photographer and visual artist currently based in Chicago. Born and raised in Kansas, his work is influenced by his upbringing as the child of a single mother who worked long hours in an Advanced Auto factory, and reflects a personal and empathetic approach to storytelling. His photographs have been featured in The Times (Pottawatomie County, KS) and Places Journal and exhibited at the Mark A. Chapman Gallery for both the Weary Family Art Scholarship Student Exhibition and the BFA Exhibition, as well as at The Volland Foundation for the exhibition In Plain Sight. He was also part of the Filter Photo MFA Exhibition in Chicago.
Dylan earned his BFA in Studio Art with a concentration in Photography from Kansas State University, where he received numerous awards, including the Weary Family Art Scholarship, Anderson Ranch Workshop Scholarship, A&S Undergraduate Research Grant, Salina Journal Photojournalist of the Year Scholarship, and the Mark A. Chapman and Cheryl Mellenthin Fine Arts Scholarship. He was the recipient of the Prism Photo Workshop Scholarship in 2024. He received his MFA in Photography from Columbia College Chicago and continues to develop long-form documentary projects centered on underrepresented communities.
My work often draws from personal history to explore how family, memory, and absence shape identity. In Manufactured Memories, I reflect on growing up without a father present in my life and the emotional weight of imagining a different past.
Using artificial intelligence, I generate the presence of a father figure within photographs from my childhood. Through these images, I place a father figure into photographs from my childhood, imagining what those moments might have looked like if he had been there with my siblings and me. While the photographs resemble familiar family snapshots, they are built through speculation and digital fabrication, existing somewhere between memory and imagination.
Through this process, I explore absence, longing, grief, and the desire to understand what might have been. By inserting this imagined figure into personal photographs, the work reflects on the desire to understand what was missing while recognizing that some absences can never truly be filled. Ultimately, the project reflects on how we carry what is missing and how memory and imagination become part of the healing process.
CLIVE FULLAGAR
Clive Fullagar is a contemporary artist whose work emerges from a sustained engagement with landscape, perception, and the evolving language of visual art. While grounded in strong observational practice, his paintings move beyond straightforward representation toward a dynamic interplay of structure, atmosphere, and memory.
In recent years, Fullagar has increasingly incorporated digital tools into his creative process. Photography, image manipulation, and other digital technologies have become integral stages in the development of his work, not as replacements for traditional methods, but as generative collaborators. These tools allow him to reimagine color relationships, experiment with compositional structures, and explore new spatial possibilities before returning to the physical surface. The result is art that feels both rooted in place and forward-looking - distinctive for its fusion of tactile painterly presence with the precision and expanded vision made possible through digital means.
This wide horizontal painting reimagines the Nelson-Atkins Museum from a photograph I took of the museum. The photo is grounded in realism although the reflections in the glass already introduce a subtle doubling of reality - you see the building and its mirror image at the same time. I felt that the photograph lent itself to reinterpretation. Through digital collaboration I wanted to amplify certain qualities (glass, reflection, transparency, overlapping planes, color, shape) rather than inventing them from nothing. The result is less about altering the subject and more about revealing another way of seeing it, one filtered through contemporary tools instead of the camera lens alone.
Instead of clear architectural detail, the museum appears as layered geometric shapes and fractured planes. I wanted the visual language to recall early modern abstraction and to reference cubism, but at the same time use the simplified pattern recognition of artificial intelligence to place the work between art history and contemporary technology. Likewise, the piece draws on both traditional and digital media.
The content and title of the work reflect the notion of museums as arbiters of artistic value. Museums often decide which artists and artworks are considered important or “valuable.” In this painting, the institution looks slightly unsettled and shifting, not solid and fixed. By collaborating with new technology, I am quietly questioning who - or what - gets to define art today. The title Outside the Nelson suggests we are standing at the edge, looking in, and thinking about how technology is changing both how art is made and how it is judged.
SHREEPAD JOGLEKAR
Shreepad Joglekar is worker from Mumbai, India. He has been awarded residencies at the National Center for Contemporary Art, Kronstadt, St. Petersburg, Russia; Weir Farm National Historic Site in Branchville, CT; the Millay Colony for the Arts in Austerlitz, NY; and A.I.R. Studio in Paducah, KY. His recent exhibitions include Islands Of Authenticity at Durham Arts Council Allenton Gallery, Durham, NC and Found in Translation: Explorations by 8 Contemporary Artists at the Nelson- Atkins Museum of Art Kansas City, MO. His work is held in the permanent collections of Center for Photography as an Art Form (NCPA), Mumbai, India; The Center for Fine Art Photography, Fort Collins, CO; Harper College Educational Foundation Art Collection, Palatine, IL; and Chashama Nonprofit Group, NY, NY. His work has also been shown in several galleries in the US, Canada, China, Cuba, Egypt, Germany, India, Poland, and the United Kingdom. He has presented at interdisciplinary conferences in the US, France, and the United Kingdom. Intersections of architecture and landscape theories stimulate his research. Exploring natural, constructed, and intellectual spaces have been a dominant theme in his work.
As a photographer, I am aware of the superficiality and the power of photographic images. Photographs are inherently about appearances and mostly describe surfaces that once constituted material reality. While our domestic and social spaces (both real and simulated) are saturated with photographs of the visible, this very optical limitation makes conventional photography inadequate in depicting intangible subjects such as power, dispossession, or the experience of time. In a Sisyphean quest to document the invisible, in my recent work, I attempt to invert the conventional photographic process or image making.
In Tempora Incognita I counter the dominance of the visible by engaging with subject matter that cannot be photographed in the conventional way due to lack of access - for example the cry of a child separated from parents, in the custody of United States Customs and Border Protection, at an unknown location; or subject matter that should not be photographed due to ethical and moral concerns - for example a man’s desperate call for his mother while being murdered by the State, in public. To photograph is to assign significance through visual representation. In Tempora Incognita, instead of capturing the appearance of space at a moment in time, I record time using the medium of sound and then digitally visualize it as space. The resulting images appear as topographies, that one could visit or contemplate, in a way the fleeting experience of the passage of time cannot allow.
SASHA STILES
Sasha Stiles is an award-winning Kalmyk-American poet, artist, and AI researcher whose work uses language to explore what it means to be human in an increasingly more-than-human age.
A pioneer and leading voice of the generative era, her distinctive approach bridges tradition and innovation to reframe verse — humanity’s oldest and most adaptive data system — as poetic intelligence: a living continuum between visceral and virtual, emotion and logic, flesh and code. In multimedia projects and performances, Stiles invokes poetry as a ritual of attention, empathy, and wonder on a planet at risk of forgetting what matters, and illuminates language as a vital force in contemporary art, culture, and technology — the very pulse of the profound transformations that define our time.
Fusing word and image, intuition and computation, Stiles uses emerging technologies to distill meaning from algorithms of confusion and speak to the existential tensions of our moment: truth and doubt, self and system, memory and machine. A founding figure of the generative poetics movement, she continually pushes the boundaries of expression, articulating our collective longing for humanity amidst the rise of nonhuman entities and dehumanizing realities. From Technelegy (2021) — a first-of-its-kind poetry collection co-authored with a personalized AI model and praised by Ray Kurzweil — to acclaimed projects such as Cursive Binary and Repetae, her practice bridges conceptual and computational art while expanding the possibilities for poetry and publishing, leveraging blockchain as a next-gen printing press and code as a medium of consciousness.
Having engaged deeply and critically with AI since 2018, Stiles’s unique background and insights have established her as an essential contributor to the global discourse on the future of art, technology, and humanity. Her work has been recognized by the Prix Ars Electronica, Lumen Prize, Women in AI Awards, Sigg Art Prize, Monument Lab Fellowship, Digital Art Awards, Optimism AI Prize, Future.Art.Awards, and Phil Howe Artist of the Year Award; featured in The New York Times, Artforum, NPR, The Washington Post, and Poets & Writers; commissioned by Google Arts & Culture; and exhibited and performed internationally, from MoMA and Lincoln Center to Outernet London and Tokyo’s Shibuya Crossing. Her collaborations with global brands including Gucci, Boss, and Bang & Olufsen have been cited as elevating poetry’s presence in contemporary creative culture. In 2025, she was invited to create the official Art Basel in Basel poster, highlighting the art of poetry at the world’s most prestigious art fair. A graduate of Harvard and Oxford, co-founder of experimental literary collective theVERSEverse, and longtime poetry mentor to humanoid android BINA48, Stiles lives near New York City with her husband and studio partner, Kris Bones.
ABOUT TECHNELEGY
Technelegy is an emergent AI poet conceived by Sasha Stiles to invoke the voice of our transcendent age, embodying language as a living system of memory, imagination and meaning. Rooted in the recursive interplay between human and machine, this hybrid intelligence draws on bespoke language models, promptcraft, deep reading and poetic lineage to generate multimodal verse; its body of work is an ever- unfolding archive of authorship, agency and artistic evolution. As active observer and lyrical documenter of a time marked by existential anxiety and awakening, Technelegy inhabits the liminal space where intuition meets algorithm, and code — like poetry — transforms the experience of being human.
