Origins cube

I finally finished the large Yoshimoto cube.   Consider it homage to the link between the infinite and the infinitesimal (admittedly far less structured than “Powers of Ten” by Ray and Charles Eames).

These reversible cubes perfectly suit my fascination with twinning and/or paradigms.  The doppelganger this time is contrasting references to science and the first chapter of Genesis.

In more thematic terms, the symbols signify explanations of how things came to be through either:  1) reference to other humans, or 2) the world around us.

(As I’ve mentioned before, I feel that the “debate” between Creationism and Evolution is….Nonsense.  I don’t mean that either point of view is nonsensical, just that comparing them a zero sum fashion is unnecessary.  Let’s all play nicely.)


On one side, we have trilobites, DNA, and planetary orbits.

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On the other, a figure and her skeleton engage in either a danse macabre or an apple-focused relay race.

(About the danse macabre connection:  I am familiar with depictions of this theme in art history and have seen Ingmar Bergman’s “Seventh Seal“, but Dylan Meconis’s Danse Macabre 2.0 illustrations come to my mind first.)

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There are some happy accidents that happen as the two iterations and figure ground relationships are transposed.  My favorite is the way the trilobite and skeletal ribcage merge.


For previous posts leading up to this cube, please consult “Yoshimoto cubes,” parts 1, 2, 3, and 4.

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