Celebrating the James Webb Space Telescope through art
The James Webb Space Telescope (JWST) continues to reshape our view of the cosmos, and contemporary artists have met that revolutionary science with bold, tactile responses. The second installment of Ashley Zelinskie’s Unfolding the Universe series, titled “Wandering Through Time and Space,” opened on September 6 at Torch Gallery in Amsterdam. Running through October 26, the exhibit expands Zelinskie’s conversation about Webb—from its collaborative genesis to the intimate, human stories embedded in space exploration.
From New York to Amsterdam: a transatlantic collaboration
The project’s first chapter premiered in 2022 at Onassis ONX Studio in New York City, underscoring NASA’s contributions to the JWST in partnership with the European Space Agency (ESA) and the Canadian Space Agency (CSA). The Amsterdam exhibition continues that cross-border dialogue, foregrounding ESA’s pivotal role alongside NASA and CSA in Webb’s mission. Zelinskie deliberately situates the show within a broader narrative of international cooperation that makes space exploration possible.
New works inspired by iconic Webb imagery
Visitors encounter a suite of new pieces drawn from Webb’s distinctive observations. The artist reframes some of space science’s most beloved images—such as the Pillars of Creation and the Cat’s Paw Nebula—through sculpture, textiles, and immersive media. A notable highlight is her exploration of gravitational lensing, where light from distant galaxies is bent by massive foreground objects, translated into artful forms that echo the physics at play in the cosmos.
Three media, one cosmic conversation
In the Torch Gallery show, the work spans sculpture, textiles, and a dedicated VR experience developed in collaboration with ESA. The exhibition features the ESA Webb VR experience accessible on desktop, mobile, or VR headset, inviting visitors to traverse Webb’s view of the universe from a new, participatory angle. Textile works convert high-resolution space imagery into woven structures—silk banners and robotic-loom cotton weavings dyed with natural pigments—carrying the depth and diffusion of nebulae into tactile textures.
Technology meets craft: the material language of Webb
Explaining her process, Zelinskie notes she often begins with NASA’s 3D scans of nebulas and translates those data into generative star maps. In some pieces, she 3D-prints the forms, then copper-plates them to echo Webb’s engineering lineage. In a sculpture series that includes Pillars of Creation and Gravitational Lensing, the artist stacks stellar imagery with cartographic context (such as Webb’s L2 orbit) to fuse what Webb sees with where it sits in space. Her practice often animates human figures—galaxy-headed nymphs who dance through space—to emphasize discovery, risk, resilience, and wonder.
ESA voices and an evolving trilogy
As with the first installation, the Amsterdam chapter invites scientists into the gallery. Talks with ESA experts illuminate Webb’s science—LISA and gravitational waves, JWST’s diffraction spikes, and the orbit around L2—providing a rigorous, grounded backdrop for Zelinskie’s artwork. The show’s third chapter will pivot toward Canada’s contributions, highlighting the CSA’s role in Webb’s stability and precise operations with copper-plated, 3D-printed sculptures and a Canadian-focused VR experience.
Beyond the gallery: a broader cultural footprint
Zelinskie’s work has earned ongoing visibility—from the Whitney Museum in New York to Sotheby’s in New York, and the U.S. Department of State’s Art in Embassies program—demonstrating how space science can intersect with public art to spark curiosity. By intertwining mission outputs with tangible experiences, the artist makes the cosmos graspable and invitations to exploration feel personal.
What to expect at Torch Gallery
Attendees should anticipate a cohesive, multi-sensory encounter: copper and fiber meet celestial data; immersive VR complements solid sculpture; and conversations with ESA experts anchor the wonder in real-world science. The third installment promises further exploration of Canada’s role, continuing Zelinskie’s mission to map Webb’s universe into accessible, humane art.
