Art and Fashion

Mariko Mori uses aluminum and acrylic to conjure the metaphysical and otherworldly in ‘Radiance’ — Colossal

Where technology, time, universe and perception meet, you will find the work of Japanese artist Mariko Mori. The artist has long been interested in the relationship between the individual and the universe (existence itself), which she explores through a range of media and immersive experiences. She also draws on the Buddhist philosophy of interconnectedness, which centers on the idea that no creature, object or event exists in isolation. Everything is connected.

A recent series of dreamlike tondos and luminous acrylic sculptures make up the artist’s current solo exhibition, radiation, In Sean Kelly. Sen’s circles are composed of abstract, symmetrical, metaphysical forms with bright and soft colors unified The work emphasizes beauty, interdependence and transcendence.

“Love II” (2025), dichroic coated layered acrylic in two parts with Corian base, 70 7/8 x 29 11/16 x 23 3/8 inches, Edition of 1, with 1 AP

This work delves into Japan’s ancient culture, specifically its prehistory and early historical eras. Mori has extensively studied many ancient periods of artistic, philosophical, and social progress, such as the Jomon period (14,000 to 300 BCE) and the Yayoi period (300 BCE to 300 CE). She also delves into relatively recent eras, such as the Kofun (250 to 538 AD) and Asuka (538 to 710 AD) periods.

“Through fieldwork into the sacred geological formations of the Japanese archipelago, including the legendary rocks of Okinoshima and the shrines of Izumo and Awaji, Mori focuses on these ancestral sites through a contemporary lens,” said the gallery. On Okinoshima, Mori observed the sacred rock known as the Sacred Rock. Iwakurawhich is believed to contain Kami—a spirit or soul.

Forest stone series, like Love II, reimagined Iwakura On gallery background. Made from solid, translucent acrylic, it reflects and diffracts light with an almost prismatic effect, inviting visitors into a meditative experience. “Their dichroic surface changes with ambient light and the movement of the viewer, reimagining invisible energies and recalling the stone’s original function as a sacred portal,” said a statement.

radiation The event will run in New York until December 20th. For more information, visit Mori’s website and Instagram.

Round, glowing, abstract works in light pastel tones by Mariko Mori
“Unity II” (2024), UV-curable pigment, Dibond and aluminum, 63 1/2″ diameter, version 5, with 2 APs
Sculpture by Mariko Mori made from a single piece of transparent, faceted acrylic in prismatic color
“Kamitate Stone I” (2025), dichroic coated layered acrylic and Corian base, 70 7/8 x 28 7/8 x 24 5/8 inches, 1 edition with 1 AP
Round, glowing, abstract works in light pastel tones by Mariko Mori
“Unity VII” (2024), UV-curable pigment, Dibond and aluminum, 63.5″ diameter, Edition 5, w/2 AP
Round, glowing, abstract works in light pastel tones by Mariko Mori
“Unity VIII” (2024), UV-curable pigment, Dibond and aluminum, 63 1/2″ diameter, version 5, with 2 APs
Installation view of “Temple” (2025), silk, aluminium, wood, two dichroically coated acrylic sculptures and Corian base, approx. 100 cm. 74 13/16 x 362 3/16 x 189 inches. Photo by Jason Veitch
Round, glowing, abstract works in light pastel tones by Mariko Mori
“Unity I” (2024), UV-curable pigment, Dibond and aluminum, 63 1/2″ diameter, Edition of 5, with 2 APs
Sculpture by Mariko Mori made from a single piece of transparent, faceted acrylic in prismatic color
“Oshito Stone III” (2025), dichroic coated layered acrylic and Corian base, 43 5/16 x 34 7/16 x 35 13/16 inches, Edition of 3, with 1 AP
Installation view of Sean Kelly’s “Radiance”. New York. Photo by Jason Veitch



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