3D Images from Site Specific Rendering for ATONEMENT 

Here you can see the overview & specific 3D renderings at the bottom, 3 weeks of  in-process pics (Between Trestle Studios in Brooklyn while I was temporarily studio-less, and now in Sunset Park Brooklyn, and the sculptural form of this process at the top.

The garden you will see below is not functional wether it exists in Eden,  a lab, or a museum.  it  opposes of how we normally see the nature of reality with our eyes.  From this vantage point, it can be seen that our mission is to "survive spacetime" as a multi-billion generational voyage of continual transformation of consciousness and form.  

I think the "trees of life" are connected enough to "spacetime" without compounding the environment and making the consumption of the installation overtly simple.   In this version of the Tree of Life, the Black holes are abstracted into their spimes or linear abstraction, which string theory and other extra-dimensional theories speculate.  These trees of life come into focus as any one cross section of the structure we cannot see is a singularity or Supermassive Black hole, which is popularly known for disobeying the rules of nature and spacetime and consuming all that comes near it.  However, my interpretation is that the SMBHs have collected the mature environments that can sustain physical life and are not only incubating worlds from nebulaes to galaxies, they are also carrying them through spacetime as this extended environment continues to be affected by dark energy and dark matter.  Carl Sagan, Michio Kaku, Sir Penrose, Isaac Isamov, and others have made many assertions that lean in this direction.  It should be added that referring to these authors instead of those of philosophy and or spiritualism is a case of contemporary fashion.  Bernanrdo Kastrup has distinguished many theories about the connections between consciousness and the cosmos as well, especially in his essay "The Universe in Consciousness" in The Journal of Consciousness Studies (2018), specifically speaking about pan-psychism as a bridge or superposition of experienced realities.  What these sculptures do is take the visual dialog of physics as formed within the contemporary visual theories of art to discuss the shape of reality, and the connections of our consciousness to the cosmos, something that Carl Sagan tried to instill on our civilization half a century ago.  What Mr. Sagan knew then, and I think we all inherently know, is that science is also a comparative religion and that all of these theories need to find a way to work together because they are essentially all saying the same thing, while often saying all the other voices are incorrect which leads us no where..  

In Process.  How do you make a sculpture in and out of and in between studio locations?