The central metaphor in this piece is the idea of a 'Transformationless Transformation.' The dichroic glass Tree of Life changes colors from coppers, bronzes and yellows depending on the angle of viewing of the observer. In other words, it is ever changing. When the doors open and the light in the niches containing the commandments shines from the back of the glass, the glass changes colors into blues and magentas. While the glass itself does not physically change, it appears to have transformed because of how the light now passes through it. In a similar way, as a person opens the ark or opens their heart or mind, there is a transformation that takes place. That person still has all their physical, intellectual and emotional equipment yet something has shifted. They are now being illuminated by a higher state of consciousness. There are other relationships in the formal design of the ark as well. The female, in the opening of the doors and the male, the 'column of light' that I built
The doors are opened and the dichroic glass in the Tree of Life has changed colors, it has undergone a 'Transformationless Transformation'.
The ark with a lectern and a Shulcan for reading Torah.
The dramatic 'Column of Light' at night.
The three adjustable Torah cradles.
The fused glass tiles in the Ten Commandments are made from irredescent glass and they appear and disappear as the veiwong angle changes.
The Ner Tamid is a white hand blown glass bowl in the form of an ancient oil lamp. The lamp imperceptibly cycles through its colors illustrating the idea that God can never be fully grasped or objectified. It also serves to slow down time in a subliiminal fashion.