Where technology, time, the cosmos, and perception meet, you’ll 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 mediums and immersive experiences. She also draws from the Buddhist philosophy of interconnectedness, which centers around the idea that no living being, object, or event exists in isolation. Everything is linked.A recent series of dreamy tondos and luminescent acrylic sculptures make up the artist’s current solo exhibition, Radiance, at Sean Kelly. Comprising abstract, symmetrical, metaphysical forms in bright pastel hues, Mori’s circular Unity compositions emphasize 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 APThis body of work delves into Japan’s ancient cultures, especially prehistoric and early historic eras. Mori extensively researched a number of ancient periods during which artistic, philosophical, and social advances took place, like the Jomon era (14,000 to 300 B.C.E.) and Yayoi period (300 B.C.E. to 300 C.E.). She also delved into relatively more recent eras, like the Kofun (250 to 538 C.E.) and Asuka (538 to 710 C.E.) periods.“Informed by site visits to sacred geological formations across the Japanese archipelago, including the storied rocks of Okinoshima Island and the shrines of Izumo and Awaji, Mori focuses on these ancestral sites through a contemporary lens,” the gallery says. On Okinoshima, Mori observed sacred rocks known as iwakura, which are believed to contain kami—deities or spirits.Mori’s Stone series, like “Love II,” re-envision iwakura within the context of the gallery. Made of solid, translucent acrylic that reflects and diffracts light in an almost prismatic effect, visitors are invited into a contemplative experience. “Their dichroic surfaces shift with ambient light and the viewer’s movement, reimagining invisible energies that recall the stones’ original function as portals to the sacred,” says a statement.Radiance continues through December 20 in New York. Find more on Mori’s website and Instagram.“Unity II” (2024), UV-cured pigment, Dibond, and aluminum, 63 1/2 inches diameter, edition of 5 with 2 AP“Kamitate Stone I” (2025), Dichroic-coated layered acrylic and Corian base, 70 7/8 x 28 7/8 x 24 5/8 inches, edition of 1 with 1 AP“Unity VII” (2024), UV-cured pigment, Dibond, and aluminum, 63.5 inches diameter, edition of 5 with 2 AP“Unity VIII” (2024), UV-cured pigment, Dibond, and aluminum, 63 1/2 inches diameter, edition of 5 with 2 APInstallation view of “Shrine” (2025), silk, aluminum, wood, two Dichroic-coated acrylic sculptures, and Corian bases, approx. 74 13/16 x 362 3/16 x 189 inches. Photo by Jason Wyche“Unity I” (2024), UV-cured pigment, Dibond, and aluminum, 63 1/2 inches diameter, edition of 5 with 2 AP“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 APInstallation view of ‘Radiance’ at Sean Kelly. New York. Photo by Jason WycheDo stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article From Aluminum and Acrylic, Mariko Mori Conjures the Metaphysical and Otherworldly in ‘Radiance’ appeared first on Colossal.