For The Armory Show 2025, KAJE is pleased to present Feedback Fountain, a new body of research from our 2025 Think Tank research residency with artists Brittni Ann Harvey and Harry Gould Harvey IV. Feedback Fountain explores various systems of cybernetic intention and control, from the spiritual to the surveillant, metaphysical to electromagnetic.

Feedback describes a system where output is returned to input to regulate stability or intensify oscillation. A fountain is hydraulic recursion: water lifted against gravity, arcs, returns, drives flow again. Throughout the 2025 residency cycle, the pair of artists experimented with synthesizers and their feedback through audio loop pedals, electromagnetic feedback loops between speakers and microphones, and environmental feedback while piloting kites—in that the flier employs input to regulate, manipulate, control the flight path of the flown device. The artists’ have located particular interest in how a kite and its operator form a complete system, oscillating between order and collapse. Using tensile architecture, and wind as its medium, the kite binds ground to atmosphere. In terms of cybernetic control or sine oscillation, the kite is a literal apparatus.

The drone works by Brittni Ann Harvey are part of an ongoing sculptural series that question whether peace is a universal value or a culturally contingent aspiration. The drone form suggests the militarization of civilian technologies—once tools of exploration or recreation, now repurposed for surveillance and targeted violence. However, the sculptures are static, reliquary-like, contrasting their real-world agility and danger. This stillness suggests a yearning for peace even as their forms embody mechanisms of conflict.

Working as a contract negotiator for the United States Navy for five years, Harvey gained insight into the vast system of the U.S. military industrial complex and the bureaucratic process of government spending within it. Drones are symbols of our era's double-edged progress—where every technological “advance” holds within it both promise and threat. Use of embroidered figures like the Virgin Mary, Sargon of Akkad, and the Tower of Babel introduce historical and spiritual complexity. These images evoke moral, theological, and civilizational reckonings within the complex territories of violence, communication, and divine authority.

Another important node of the artists’ research is an active dialog with artist and scientist Duncan Laurie, who has spent the past three decades researching and practicing radionics. Radionics leans into the belief that all living organisms and environments emit unique energetic frequencies, or vibrations that can be measured and influenced. The practice bears historical relevance to the artist’s overarching interest in psychotronics and psi phenomena, as well as a field of concern that the artists’ deem spiritual cybernetics.

BIOS

Harry Gould Harvey IV (b. 1991) lives and works in Fall River, MA. Drawing inspiration from the ecological fabric of his native South Coast Region, Harvey deconstructs the building blocks of empire and illuminates the weight of anonymous labor. Foraging materials from downed or cut trees, destroyed Gilded Age mansions, dilapidated factories, gutted Gothic churches, and his subconscious, Harvey creates mystical and diagrammatic drawings housed inside hand-built wood frames akin to reliquaries and large-scale sculptural installations that evoke lost histories of marginalized artisanship and backbreaking toil in the name of American industry and luxury. Harvey’s recent solo and two-person exhibitions include Sick Metal, P·P·O·W, New York, NY; LEVEL LEVEL, Cordova, Barcelona, Spain; List Projects 29: Brittni Ann Harvey and Harry Gould Harvey IV, MIT List Visual Arts Center, Cambridge, MA; An Anathema Strikes the Flesh of the Laborer, Hessel Museum of Art, Bard College, Annandale on the Hudson, NY; and Arrows of Desire, with Faith Wilding, David Winton Bell Gallery, Brown University, Providence, RI; among others. He participated in the 2021 New Museum Triennial, Soft Water Hard Stone, as well as the 2022 group exhibition Door to the Atmosphere at the Frye Art Museum, Seattle, WA, from which a work was acquired for the museum’s permanent collection. Harvey is co-founder of the Fall River Museum of Contemporary Art, Fall River, MA.

Brittni Ann Harvey (b.1992, RI) is a sculptor and textile-based artist whose work explores the complex relationships between emerging technologies, militarized materials, and their lasting effects on the human spirit. Working across both digital and analog methods, she creates layered visual works that incorporate hand-drawing, digital embroidery, jacquard weaving, and cast or hand-forged metal. Harvey has presented solo and two-person exhibitions at the MIT List Visual Arts Center, Cambridge; NOW: Gallery, Lima; Someday New York; and Anthony Greaney, Somerville. Her work has also been featured in group exhibitions at Nino Mier, Los Angeles; the Hessel Museum of Art, Annandale-on-Hudson; P.P.O.W., New York; Galleria Julien Cadet, Paris; Nir Altman, Munich; and Stilllife, Shanghai; among others. She is the co-founder of the Fall River Museum of Contemporary Art in Massachusetts, where she lives and works. Harvey holds a BFA in Textiles from the Rhode Island School of Design.