Kline is an Artist living and working in Philadelphia.

Tyler Kline is an artist, educator, and curator living and working in Philadelphia. Kline grew up in Stone Mountain, GA, studied Architecture and Painting at the Savannah College of Art and Design and received his BA in Anthropology and Sculpture from Portland State University and a MFA in Installation and Sculpture from The Pennsylvania Academy of The Fine Arts.  Kline currently teaches sculpture at Drexel University, 3D Design at Pennsylvania College of Art and Design, and Art Appreciation at Rowan University, as well as being a collective member of Pink Noise Projects in the 319 building in Philadelphia.

They have curated shows at: New York's Flux Factory, Philadelphia’s Pink Noise Projects, Atlanta’s Moving Spirits Gallery, Portland’s Martial Arts Gallery, Zeitgeist and Disjecta, as well as Philadelphia’s Pennsylvania Academy of the Fine Arts, Little Berlin, Crux Space, and The University of the Arts, InLiquid.org at The Yard, and Solar Fable Stage.  A Strong believer in the power of Art to revitalize communities and bring about social change; he is fascinated by playing with the porous boundaries between painting, video, sculpture, performance, and printmaking.

Kline’s curatorial work braids Visual Anthropology with cross disciplinary aesthetics, with an interest in emerging media, scientific cross pollination, and rapidly shifting lenses of cultural context.  Furthermore, Kline is a visual artist who has created installations in Portland, Atlanta, New York and Philadelphia, and exhibited at the Pink Noise Projects, Philly,  Rebeka Templeton Cont., Little Berlin, MASS MoCA, Vox Populi, The Delaware Art Museum, Dumbo Art Center, The Armory, NYC, The Institute of Contemporary Art, Philadelphia., Washington County Museum of Fine Art, The University of The Arts, The Pennsylvania Academy of Fine Art, Portland State University, The Savannah College of Art and Design, New Bedford Art Museum, The Goethe Institute of San Francisco, and Disjecta.

They have worked in the sphere of urban interior and exterior intervention for three decades, beginning with creating skate-parks in unused urban spaces in Atlanta and Philadelphia, to to creating collaborative sculpture gardens in the shadows of re-purposed textile mills in Kensington through Little Berlin, Iglesias Gardens, Open Kitchen Sculpture Garden, Ruth St Garden, Tusculum Farm, and the Krimson Garden in Philadelphia. They make immersive installations, performance, VR/AR environments, and Ai Portraiture , creates animated gifs as a way of exploring and constructing glitch theory, and explores the transmutation of materials by translating 3D prints into cast metal sculptures, and uses expressive body movement to create new possible futures.. Kline’s own point of research within this field is to break the conceptual screen and expose the underlying, subjective, and  internal forces that are imprisoned within them by late stage capitalism as this scheme plays out in our current techno feudalistic thoughtscape.

My current work emerges from  the Chthulucene—a term coined by Donna Harroway in her book Staying with the Trouble, describing our multi-specied, climate-crisis present—toward what I now call the Sednacene: a speculative epoch of pan-species, pan-planetary collaboration grounded in mutual survival, interstellar kinship, and the cultivation of technological sentience rooted in ecological reciprocity. The Sednacene is not a utopia—it is a navigational system. Maps grown in chlorophyll and mesh, systems designed not for conquest, but communion.

I explore this terrain through a practice that integrates sculpture, digital fabrication, gaming logic, speculative storytelling, and ecological engineering. My forms begin as gestures and sketchbook drawings, then modeled tactilely on a tablet or sourced through 3D scans of close collaborators—and pass through iterative phases: 3D printing, mold-making, metal casting, and re-digitization for manipulation in Virtual Reality. These recursive loops of translation embody the psychic migration between virtual architectures and visceral, planetary entanglements. The resulting objects—bronze talismans, algorithmic game-pieces, scale-shifting avatars—are nodes in an extended field of inquiry into non-anthropocentric life forms, technologies of empathy, and posthuman devotional tools.

Influences range from early Commodore 64 aesthetics to role-playing systems like Dungeons and Dragons, as well as the meta-narrative infrastructures of graphic novels, interactive digital platforms, and the trusty paperback book. These modes of rhizomatic storytelling—linear, branching, and recursive—inform my construction of speculative mythologies rooted in both ancient ritual and emergent cyphers.

Crucially, the work is also grounded in the physical, the local, and the ecological. Recent projects involve the design and co-creation of community art gardens as sites of photosynthetic rejuvenation liminalities where sculpture, plant life, and collective care form interfaces for community transformation. These gardens operate as terrestrial nodes within the Sednacene network: training grounds for the post-carbon social organizations we must urgently prototype.

The Viridian Quantum Loop Vessels—a fleet of imagined interstellar ships—serve as narrative vehicles for this expansive inquiry. Designed through a synthesis of AI-assisted modeling, biomimicry, and speculative physics (including quantum loop gravity and wave-function collapse), these ships are not only metaphors for migration, but potential architectures for distributed consciousness. Each one is a site of convergence—housing memory, kinship, vegetal logic, and the computational seeds of post-anthropocentric governance.

In a time of earth crisis when planetary systems convulse and species boundaries blur, my process asks how we might reconfigure agency, cultivate compassion, and co-design a future no longer centered on human exceptionalism. The Sednacene is not a destination—it is a becoming.