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Richard Rohr teaches that awe, wonder, and amazement are foundational spiritual

"The Western mind almost refuses to be in awe anymore. It’s only aware of what is
wrong, and seemingly incapable of rejoicing in what is still good and true and beautiful.
The only way out is through a new imagination and new cosmology, created by positive


“Who is like you, O Lord, among the gods?
    Who is like you, majestic in holiness,
    awesome in glorious deeds, doing wonders?"

Exodus Chapter 15 verse 11

The artwork is 
Vija Celmins, Night Sky #2, 1991 (Art Institute of Chicago)




More details regarding Vija Celmins 

Vija Celmiņa was born on October 25, 1938, in Riga, Latvia.[5] Upon the Soviet occupation of Latvia in 1940, during World War II, her parents fled with her and her older sister Inta[6] to Germany, then under the Nazi regime; after the end of the war, the family lived in a United Nations supported Latvian refugee camp. In 1948, the Church World Service relocated the family to the United States, briefly in New York City, then in Indianapolis, Indiana. Sponsored by a local Lutheran church,[6] her father found work as a carpenter, and her mother in a hospital laundry.[7] Vija was ten, and spoke no English, which caused her to focus on drawing, leading her teachers to encourage further creativity and painting
Since the early 1970s, the artist has created exacting depictions of such expansive subjects as desert floors, ocean waves, the surface of the moon, and star-studded night skies—the latter derived from satellite photographs. To create her smooth, velvety compositions, Celmins often applies multiple layers of pigment to her canvases, sanding each down before she adds the next. Each work is further modulated through the use of a wide range of black, white, and silvery-gray tones. With its jewel-like imagery and suggestion of vastness, Night Sky #2 is at once romantic and unsettling. Lacking the anchor of a horizon, a humanly scaled reference point, or a recognizable landmark, viewers may have difficulty determining their relationship to the image. The enormity of the subject presented on a relatively small scale (the work is less than two feet wide) furthers this sense of disorientation. (from wikipedia and Arti institue of Chicago, see more of Celmins art here: )