Featured in After the Human. After Technology. in Silicon Valley Asian Art Center
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Thresholds, 2025, Canvas, Acrylic, Thread, 40 × 40 × 1 in | 101.6 × 101.6 × 2.5 cm
Zelene Jiang Schlosberg participated in After the Human. After Technology., a group exhibition presented by MetaU Art at the Silicon Valley Asian Art Center from February 8 through March 8, 2026. Bringing together 14 artists, the exhibition explored how technological change is reshaping human experience, perception, and imagination.
Jiang Schlosberg’s participation brought her exploration of the body, architecture, and memory into a broader conversation about life amid artificial intelligence, automation, and digital systems. The exhibition’s online presentation featured her works Thresholds (2025), Remembrance Prophecy (2024), and Glide (2024), offering three perspectives on figures navigating shifting architectural spaces.
Through cutting, painting, stacking, and positioning canvases, Schlosberg has developed a form of “relief painting” situated between painting and sculpture. In her practice, the wall, ambient light, and surrounding physical space enter the pictorial field, joining color and form to create a folded experience of time and space.
“I imagine the body as a sensing architecture—an unstable system through which signals, memories, technologies, and environments continually pass, altering one another,” Schlosberg writes in her artist statement.
Her antennaed figures suggest an evolving relationship between human beings and machines. Their antennae function as extended organs of perception, connecting the body to its surroundings like receivers. Within abstract environments, the figures appear both to move and to linger, inhabiting the past while pointing toward the future. The spaces around them bend and intersect, suggesting movement as well as the traces of memory.
In Thresholds, layered planes and color create spaces of passage, with figures poised between movement and hesitation. Remembrance Prophecy uses a restrained white palette to bring shadow, depth, and suspended figures into focus within a delicate architectural structure. Glide extends horizontally, drawing on Schlosberg’s interest in Chinese ink scroll painting to explore movement and adaptation across changing spaces.
Viewed through Schlosberg’s artist statement, these works connect the exhibition’s technological questions to the physical and psychological experience of inhabiting a changing world. Her practice asks how human beings have already been transformed, and what further changes may emerge as information expands and the rhythms of daily life accelerate. Painting becomes a space in which memory, bodily perception, and imagined futures can meet.
Teresa L.C. Huang 在2026年2月17日发表的展评〈After the Human, After Technology〉中，谈及蒋贞蕾作品的空间层次与诗意张力。她写道：
“芝加哥华裔艺术家蒋贞蕾(Zelene Jiang Schlosberg)的作品，在彩绘的画布上裁剪、缝拼、层叠画布，让画面呈现出建构规律的线条与零碎的环境意象之交汇，如此抽象的画面仿佛叙述着一则则隐晦的的故事，在浮雕似的双层空间中流露着一种过渡性氛围，行动中的人物在那难以言喻的现代意境中踌躇，为画面增添了一份张力与诗意。”
出处：Teresa L.C. Huang，〈After the Human, After Technology〉，《Chapter on Life in San Jose》，2026年2月17日。阅读原文。
In her review “After the Human, After Technology,” published on February 17, 2026, Teresa L.C. Huang discusses the spatial layering and poetic tension in Zelene Jiang Schlosberg’s work. She writes:
“In the work of Chicago-based Chinese artist Zelene Jiang Schlosberg, painted canvases are cut, stitched together, and layered, bringing orderly, constructed lines into an intersection with fragmented environmental imagery. These abstract compositions seem to tell a series of elusive stories. A transitional atmosphere emerges within their relief-like, double-layered spaces, where figures in motion hesitate amid an ineffable modern setting, lending the compositions tension and poetry.”
Translated from the Chinese
Source: Teresa L.C. Huang, “After the Human, After Technology,” Chapter on Life in San Jose, February 17, 2026. Read the original review.
Today, as technology increasingly shapes how we see, think, and act, it becomes urgent to ask: what is the role of technology in art? How does technological advancement --particularly artificial intelligence--reshape human society, ethics, and historical trajectories? How are visual perception and aesthetic judgment reshaped through technological mediation?What is the evolving role of human imagination within algorithmic systems? And what consequences does this acceleration carry for our environment?
After the Human, After Technology is a curated exhibition that examines how contemporary artists respond to a world increasingly shaped by technological acceleration. The exhibition brings together artists who approach these questions from different yet interconnected positions. Highlighted artists include David Bowen, whose work operates at the intersection of art, technology, and climate, transforming real-time environmental data into generative systems that question how technology mediates our relationship with the natural world; David Aston, whose practice examines the ethical implications of artificial intelligence and predictive technologies and their influence on human society; and Alana Balagot, whose kinetic and interactive works explore shifts in visual aesthetics by merging classical illusion with contemporary electronic and machinic systems.
The exhibition will be on view from February 8 to March 8, 2026, at the Silicon Valley Asian Art Center, 150 E. Santa Clara Street, Suite B, San Jose, California. An opening reception will be held on February 8 from 2 to 5 p.m.
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