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How do we relate to our world – village, metropolis, or cosmos?

In exile, the Prophet Ezekiel captures both the majesty and messiness of the universe, recognizing order but not determinism, evolving toward a wider, deeper, and more complex future.

Responding to Ezekiel’s imagery, wheels and gears create what may become a series of evolving multi-media works. The piece begins with sun, moon, and stars, the purposeful and the void, the known present and the unknown future. Ezekiel’s visions are represented by the elements in this multi-media work. The upper outer rim has The Sun, The Moon, and The Stars, which for ages provided warmth, inspiration, and open horizons. The emptiness of the lower spaces are left for us to fill – not with objects, but with understanding.

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The gears are symbolic of the four elements – Earth, Fire, Wind, and Water and the posts are their pillars. Each is distinct yet not always in harmony. The fit is deliberately loose because perfect harmony permits no future, only existence. Humanity, its present and its future, are the green continents – full of exhilarating possibilities yet balanced precariously on our cooperation with nature. The Great Play is my starting point. The elevated large ridged rim represents the past – inflexible – a given. Every other element represents fragility and motion. These evoke fascination and fear, joy and dread, because they represent futures in which we can be co-creators or co-destroyers.

 

This piece was a finalist in the Myers Prize competition and was exhibited in the show DeCentralized 2019 at Teachers College, Columbia University.