
Here, Now, and In The Multiverse
October 30, 2024–February 9, 2025
As my last curatorial project at the Museum of Fine Arts, Houston, I curated an installation in our Cullinan Wiess Law Building’s North Foyer. This installation highlighted an important new loan to the museum as well as two recent acquisitions to the Modern and Contemporary Art Department. The theme was tied to the concurrent “Living With the Gods” exhibition in the same building, curated by Neil MacGregor.
The artists in Here, Now, and In the Multiverse depict heavenly bodies that exist in extraordinary realms. These celestial beings take on the forms of various deities—metamorphosed by references to complex contemporary lives—while their impossible beauty suggests the infinite possibilities available in the multiverse. Stemming from a theory of parallel universes in the field of quantum mechanics, and popularized by Marvel Comics, the multiverse has transformed into a theoretical realm of epic sagas and cosmic crossroads. These new narratives are often inspired by familiar stories of deities. For the artists highlighted here, their superhuman subjects reflect the cultural hybridity that forms when navigating life in a new country while upholding connections to one’s homeland.
With Spirits of the Mountains, Nepalese artist Tsherin Sherpa takes inspiration from chaos theory by blending Himalayan deities with modern avatars to explore the collision of identities that displaced people face. Similarly, JooYoung Choi merges popular culture with personal history by expanding upon the concept of the multiverse from Marvel Comics, as her art chronicles a journey of self-discovery within a cosmic framework. Tunji Adeniyi-Jones, inspired in part by Japanese manga, creates dynamic, fluid figures that embody his belief that “the language of dance and performance transcends all cultural boundaries.”
“I always wondered what happened to these spirits when many of the families left their villages to go in exile—if they followed the people how they functioned in this world, and how they would assimilate into different, non-local atmospheres . . . I am primarily imagining the spirit as one who tries to assimilate into our contemporary world, but there is no defined path to understanding the spirit either.”
— Tsherin Sherpa, 2021
Tunji Adeniyi-Jones
British-Nigerian, born 1992
Double Dive Blue, 2023
Oil on canvas
The Museum of Fine Arts, Houston, Museum purchase funded by the Caroline Wiess Law Accessions Endowment, Kelly and Nicholas Silvers, Garvin Davis, Lester Marks, and an anonymous donor, 2024.545
Tunji Adeniyi-Jones refers to his style as one of “cultural addition, combination, and collaboration,” allowing him to explore endless possibilities. In this painting, the androgynous bodies represent the artist; their hands are based on his own, but their movement and gestures weave a metaphor of navigating the diaspora. Adeniyi-Jones’s figures find their origin within the cosmology of the African Yoruba faith. By replicating and interlocking his figures within the composition, the artist invokes the ritualized repetition integral to ceremonial processes. The sinuous lines on the vibrant figures resemble traditional scarification practices used to embellish the body.
JooYoung Choi
American, born South Korea, 1982
Resilient Heart, 2023
Acrylic and gouache on paper and DuraLar mounted on canvas.
The Museum of Fine Arts, Houston, museum purchase funded by Marlene Marker.
© Joo Young Choi, courtesy of the artist and Inman Gallery
The central haloed figure, the eponymous Resilient Heart, originates from the JooYoung Choi’s personally informed mythology of an alternate universe titled “The Cosmic Womb.” The figure is a single mother from outer space who seeks out her lost children. Resilient Heart calls to mind statues of Guanyin, considered the embodiment of compassion; her many arms indicate her infinite powers and immeasurable reach. Choi, adopted from Korea and raised in New Hampshire, notes “in Korean culture the family is often described as one being, almost as if the pain of losing a child is like losing a part of your own body.”
Tsherin Sherpa
Nepalese, born 1968
Spirits of the Mountain, 2024
Acrylic and ink on canvas
Private collection
Born in Kathmandu, Tsherin Sherpa began training in traditional Buddhist art at the age of 12 in his father’s studio. In this monumental painting, various “spirit” characters travel from the realm of the sacred to the world of the profane and pose like a Bollywood troupe on a billboard. Their bodies feature Sherpa’s signature swirling patterns, drawn from Tibetan Buddhist protector iconography. In the background, Himalayan people go about their daily lives. Originally serving as Sherpa’s alter ego, the spirits now “represent the fusion of culture and heritage from the past with global pop culture to create a contemporary portrait of the Himalayan diaspora.”