Jesse Kaminsky
The discovery that the universe is made up of a finite number of orders of magnitude that simply re-loop upon themselves infinitely was made by a graduate student at MIT doing ordinary research on lepton interactions. When she observed a new kind of radiation emerging haphazardly from these leptons under no particular stimulus, she began to be concerned. When she matched this unusual radiation pattern to a new kind of experimental long-range telescope being used at that very instant on the other side of the world, she came to realize that these may very well be a million microscopic Earths looking out at her. Only then did the full extent of this new and unrequested model of the world began to take shape: the universe seemed to be a seamless loop of spatial dimensions and the Earth appeared to exist at regular intervals in a simultaneous timeline. In the decades that followed, as this idea washed over the people of the world, all nations and every major religion adapted the repeating-scale model of the universe into their teachings. It was in this time perio that a great new spiritual movement began to take shape: the secular worship of scale as a way to connect with ourselves across all intervals of time and space. The understanding was this: the Earth that we live on exists in a kind of simultaneous ecstasy (the word ekstasis was borrowed from the ancient Greek: "to be or stand outside oneself, a removal to elsewhere") with the Earth at a small scale; both the same and yet apart. The numerous organizations which sprang up under this new system of belief spent a great deal of effort charting the scalar journey between Earths and developing a narrative to close the “ekstasis gap between Earths” as they put it. They identified microscopic structures that they considered to be important junctures in this pathway and, though stories and objects, created a series of stations along a transformative journey of the soul across the scales of the universe towards human wholeness. Human-scale versions of these microscopic structures were made to illustrate and adorn the “Ekstasis Stations” that were used as teaching objects and moments of reflection to further the unification of spirit. But these objects created in our human scale began to manifest beings from the other scalar intervals in our universe, like mold grows on bread. Or, more appropriately, like an antenna tunes in a radio signal. We have summoned these beings by creating objects which resonate at their frequency and, it seems they are now returning the favor. They seem to be exploiting the idea that human consciousness is directly related to our physical bodies, and that those bodies can be retuned on to allow other stations, other consciousnesses to enter us.
Jesse Kaminsky is a second- paint on wood, 2023 generation artist working mainly in sculpture, sound, and performance. Born in the Arkansas Ozarks and currently residing in Providence, RI, Jesse received a BFA from the Kansas City Art Institute and an MFA from the Rhode Island School of Design, both in sculpture. Jesse’s practice is rooted in experimentation and iteration, undermining materials and questioning desires. Frequent and recurring themes relate to dreams, narrative structure, spirituality, and materiality. Recent sculptural works use a series of dream-based narratives as guides for process-based material experiments, exploring ideas of resonance, scale, and the limits of human intuition when faced with the unknown.
@jessekaminsky