Central to art was once its relationship to the imaginative interior of the artist. The legacy of romanticism and the sublime has been systematically eroded throughout the 20th and 21st centuries. Although for some not entirely lost. Contemporary discourses around the posthuman have played their part in the erasure of the artist, through the breakdown of the centrality of our bodily self in the world, and correspondingly, our imaginative interior as previously conceived has been jettisoned. Through the rise of the anthropocene, attention is now paid to the more or other-than-human, and even for those who take the person as part of this schema, the body is no longer closed, its interior bracketed off from the world, but part of a wider nexus, where fundamentally for the posthuman, the body-mind of the artist is not necessarily the originating source for creativity. This paper seeks to consider the material embodiments of these developments through exploring the working practice of artist Katie Paterson. Multidisciplinary and cross-medium, her work is concerned with immensity and particularity; her material is the stuff of the world, through which she tells the story of nature’s elusive phenomena. The artist is quelled and transformed in Paterson’s work through a re-articulation of the structures and processes normally hidden from us. In this way the register of the artist shifts and the subjective self is dispersed and reconstructed through alternative frames of reference, most notably geological time and the space of the cosmos. Heir to the romantic sublime, her work offers a reappraisal of the place of artistic subjectivity in the era of the posthuman. In so doing her work reveals the potential for a new posthuman sublime.