Modular Mythologies
Bret Slater, K. Rawald, Tim Kastelijns
Curated by Danielle Paterson  
June 26–August 2


Modular Mythologies brings together sculptural works that operate as world-units—glyphs from speculative realms, each articulating a distinct visual language. Through modular forms, hybrids, and symbolic residues, each artist builds a personal lexicon—utopic, dystopic, uncanny, or divine. These works extend beyond objecthood, functioning instead as fragments of imagined environments: blueprints of belief systems, remnants of possible futures, and architectures for alternative ways of being. Made from industrial surplus, clay, or techno-organic matter, the works function as material codes: a speculative syntax where myth, memory, and material reality mutate.

Three worlds on display:

Tim Kastelijns’ universe is a techno-ritual space: a cybernetic temple and control hub for digital species. His characters, INTEX and INIT, appear in resin and metal bodies, relics of a civilization shaped by machine intelligence and ceremonial code. With interface glyphs, mirrored memory loops, and mechanical guardians, his sculptural fragments conjure a realm of digital reincarnation and sacred systems.

K Rawald’s universe is a ceramic simulation of domestic life: a sculpted suburbia steeped in symbolism. Glowing homes, picket fences, ornamental grates, and cartoon flora evoke the illusion of security while hinting at its undercurrents of repetition, control, and quiet dread. Stripped of function and amplified in form, these motifs flatten into glossy reliefs–revealing the strange performance of the Perfect Life. In K’s world, ornamentation becomes architecture, and safety becomes spectacle.

Bret Slater’s universe is a scorched spiritual terrain: a post-belief landscape marked by ruins and ritual. Brutalist textures and circular forms hint at the remnants of a fallen empire–part extraterrestrial transmission, part sacred relic. His sculptures operate as fragments of an abandoned code, drawn from collapsed ideologies or ascended mythologies. They exist as mystical objects with residual charge, echoing both ancient faith and post-apocalyptic despair.

These works are not just objects to observe–they are systems to interpret. Each fragment resists a fixed narrative, instead offering entry points into imagined logics and symbolic structures. Viewers are invited to navigate these worlds intuitively, assembling meaning from material cues. As memory, myth, and matter converge, we ask you: what new belief systems are already forming beneath the surface of the present?

–Danielle Paterson