The general intention in this new body of work is to continue moving forward along the timeline of evolving my contemporary abstract perspectives of the architectonic world that surrounds us. This work, in part, is intentionally, yet always intuitively informed, designed to subliminally allow the viewer to apperceive their subjective experience of the trichotomy of geometric waves, vibrant fields and optic frequencies. This theme was dramatically featured in my previous work of 53 sculptural paintings on monolithic or totemic hand-built wood structures titled LOSING GRAVITY IN THE ORBITING MEGATROPOLIS: Geometric Waves, Vibrant Fields, and Optic Frequencies.

This current work references the synergistic multi-dimensional mirroring of conscious subjective experience from multiple levels and timelines archived in the viewers memory and imagination.

For example, consciously experiencing timelines as subjective movement or flow that infuses and informs the myriad states of mind that mirrors the vibrant forms, shapes and colors of my architectonic works is meant to evoke a provocative stream of consciousness as the past informs the present and the present and the past follow the arrow of time to imagine multiple future possibilities.

These pieces bear witness to the deeper cultural and species driven archetypes that define all human endeavors and have resulted in the creation of the architectonic structural organization of civilization from the simple to the ultra-complexity-based acceleration of science and technology. This body of work, hopefully, will challenge new and upcoming artists to observe and create in this new zeitgeist of a not so common era.

Consider THE EVOLUTION OF THE OMEGATROPOLIS THROUGH FOUR SEASONS OF ARCHITECTONIC METAMORPHOSIS. This work is a major accomplishment because it has evolved from my previous work titled “LOSING GRAVITY IN THE ORBITING MEGATROPOLIS”.

Each piece in OMEGATROPOLIS is 6‘ x 25 feet and will be placed on the wall as you first enter the museum. I used no template of any kind which allowed me to be exclusively driven by my creative imagination working through my intuition and experience.

I imagine OMEGATROPOLIS as the architecture of off-world colonies both in design and structure. The term omega is the last letter in the Greek alphabet and is often used to denote the ultimate limit or sequence of a set and is also symbolic of spiritual evolution and enlightenment as the end of a cycle and the beginning of a new one.

In this work, the completion of this set definition of omega is by way of an evolution of the OMEGATROPOLIS through four vibrant, seasonally specific colorings of architectonic metamorphosis from one season, or first in a set, to the next and to the final of the four pieces.

OMEGATROPOLIS isn’t necessarily making a statement about the triumph of technology. Future off world technology can only be triumphant if we give back what we’ve taken from the good earth to replenish it. Thus, when we do leave this world to explore other dimensions, we will leave behind a more pristine planet much like the symbol of the garden itself.

If OMEGATROPOLIS embodies the ancient myth of the garden, then the future will either be a repeat of the myth of being cast out only to explore for the sake of grim survival or to correct the mistakes beforehand and leave behind a replenished and balanced world. Only then can our exploration into the dimensions of other worlds be full of beauty, excitement, wonder, poetry and a transcendent, balanced union between art and science.

For me, OMEGATROPOLIS vibrates with an astonishing sense of wonder, visual poetry, captivating prismatic color and a vibrant current that it is a biosphere where each compartment is optimal in its function to preserve and maintain the integrity of life, purpose and architectural evolution.

The large sculptural work in wood is titled THE ENTIRE UNIVERSE MOVES THROUGH IRREGULAR ANGLES IN A RISING WALL FROM AN ARCHITECTONIC CITY WITHOUT NAME OR PLACE OR TIME.

For this labor-intensive sculptural work, I cut, planed, sanded and varnished 3000 pounds of wood. I wondered what could possibly navigate through this extraordinary obsessive display of so many different conceivable angles combined to create a structural union of positive and negative space?
Our conscious universe, in all of its basic underlying structural elements, is capable of such motion.

Light, traveling at its own speed limit, easily moves through these angles to illuminate them in the trichotomy of our conscious, preconscious and unconscious mind. In deeper levels of mind, the light-illuminated angles reveal the archived architectural archetype of the wall. In other words, the archetype manifests itself as that energy unique to our species that, in the awareness of a continuous informational wave form, becomes every conceivable wall that has ever been constructed.

Consciousness flows through these angular spaces as imagination, bearing its gift of creativity, rides the arrow of time into the future where other walls are waiting to be imagined and built from the unlimited imaginal.

In addition, dimensions of space-time pass through the here-now as time itself is the ever changing present in a trichotomy of past, present and future.
If the wall represents an architectonic city without a name or place or time, the challenge of the wall is in its representation as a metonymic metaphor of all the walls that divide us and foster the illusion of separateness. The angles can metaphorically attest to the numerous divisive systems of thought, belief, philosophy, religion, politics or other “angles” of obfuscation that humankind still uses and promotes under the pretense of safety, protection, security, misunderstanding or instinctual bias. These perspectives can only perpetuate our existential conflicts and nihilistic impulses.

If this continues, if the walls don’t come down and we don’t look through these angular spaces that could be openings for a rational understanding of the other side, then the future will look back at us and see dystopian cities of walls without name or place or time.

Near the RISING WALL we contemplate the WALL TEMPLE AT THE VANISHING POINT. These “no two are alike” shapy angular columns ascend, as many temples with towers do, into the sky emphasizing the direction that leads to the heavens above. The interior of the temples are thought to be filled with the higher energetic frequencies associated with spiritual dimensions of consciousness. Looking up at the tower from the ground, we can imagine the vanishing point, just like the vanishing point of skyscrapers or any towering structures. These structural points in space, albeit perceptual illusions of perspective, are symbolic of the invisible arrow of time forever pointing to the future as the forever visible vanishing point beckons us to look up into building new architectural structures for this or other worlds. Random ornamentation with small irregularly shaped, color-rich pieces accentuate the tower offering an unexpected contrast to the natural beauty of the plain wood and perhaps symbolizes the spiritual dimension of the interior.

Along the wall of the second floor are what I call CITYSCAPES OF ARCHITECTONIC METAMORPHOSIS FOR THE COMMON ERA. These hand-drawn cities rise above and below the constructed horizon. The heart and the spirit of these cities vibrate with a higher consciousness of a new era. This vision of new architecture has the potential for a higher state of global integration through the commonality of similar city skylines resulting from their architectonic metamorphosis from the older to the slightly varying new structures.

Adjacent to the wall of CITYSCAPES in the display window, I have placed my sculptural piece titled THE TOTEM OF THE MOON CASTLE. This fanciful concept resulted in using a variety of vibrant colors to be used for the geometric patterns, lines and shapes on a phantasmagoric totem where the moon castle quietly rests on top emanating it’s calming aura. The entire sculpture itself exemplifies the reciprocating structural and prismatic phenomena of geometric waves, vibrant frequencies and optic fields. This one-of-a-kind monument or totem is symbolic of moon colonization with the spire of the castle pointing to further exploration of our solar system from the eternal resting orbital moon as the totem stands in contrast to the dull grayish landscape of a barren moon.

In summary, I offer new multi-layered, architectonic structural representations of the countless trichotomies built into our universe. Our universe is made knowable through our self-reflecting subjective conscious experience of our limited but expanding brain interface with the changing mirror of reality. It is a reciprocating reality that inspires simultaneous parallels of the creative dynamic of making the invisible visible through and by way of the light that makes all created things and life possible.

Mela M
August, 2021