In God Is
R’AI’L, a congregation of hooded figures gathers within a cathedral-like hush,
their faces replaced by softly glowing sigils. At the center, a robed leader
raises a hand in benediction, his visage illuminated not by flesh, but by a
luminous geometric construct. The warm, devotional palette recalls sacred
painting, yet the iconography speaks to a different kind of divinity—coded,
constructed, algorithmic. The work lingers in that uneasy reverence, where
faith migrates from the mystical to the technological, and worship finds a new
altar.
