A Work in Progress

At the Threshold of Matter

A Portrait of the Large Hadron Collider
30″ × 30″
oil on gesso panel

Beneath the earth, a machine of almost incomprehensible scale
was built to ask an ancient question:
What is matter made of?

The Underpainting  ·  A Process Film  ·  1′35″

The Question Beneath the Earth

What is matter made of?

The Science of the Invisible

At CERN, the European laboratory for particle physics near Geneva, the Large Hadron Collider accelerates particles to nearly the speed of light, bringing them into collision to investigate the fundamental nature of matter and the forces that govern it.

Miles of machinery, an immense architecture devoted to investigating the imperceptibly small.

The ATLAS detector at CERN during installation, eight toroid magnets radiating around the central calorimeter
Image: Maximilien Brice © CERN  ·  CC BY 4.0
Immensity built to interrogate the infinitesimal.

The Threshold

The machine occupies a peculiar boundary in human inquiry. It does not merely observe nature from a distance; it creates the extraordinary conditions through which nature reveals something of its hidden structure.

In the painting, that boundary becomes architectural. The collider is drawn toward a luminous center, transformed from scientific instrument into threshold: a portrait of the machine, and of the human desire to see beyond the apparent solidity of the world.

At the Threshold of Matter in its current state, on the studio wall
The Painting in Progress  ·  October 2026

The Mythology of the Unknown

Human beings have always mythologized what lies at the boundary of understanding.

Mountains became the dwelling places of gods. The heavens became cosmologies. Forests, storms, eclipses and stars accumulated spirits, omens and divine intention.

Our machines have now become large enough, powerful enough, and mysterious enough to inherit some of the same projections.

Around CERN, contemporary mythology spreads like wildfire across social media: wormholes and portals to other dimensions, altered timelines, disturbances in Earth’s electromagnetic field, time accelerating or slowing, hidden dimensions, simulated realities, and the Mandela Effect, where shared memories of a different past become entangled with theories of shifting realities.

The impulse to mythologize remains ancient, but its imaginative territory now reaches beyond the dwelling places of gods into the mysteries of time, matter, consciousness, and entire universes.

As the boundaries of knowledge expand, so too does the universe of our imagination.
In the Studio

The Painted Work

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