Superimposed on this grid are two mirrored angel sculptures, rendered in pale blue and inverted in posture. Their wings are outstretched, their forms symmetrical, their presence haunting. They are displaced. Sanctity turned on its head, divinity reframed through inversion.

Overlaying the entire composition is a circular sunrise/sunset diagram, marked with Ask’i Evvel and Ask’i Sani—Ottoman cosmological terms denoting the first and second horizons. These markers divide the day into sacred intervals, framing time as a spiritual architecture. Here, they are imposed on a switchboard, suggesting a misalignment between divine rhythm and institutional machinery.

In the context of New Morality, Divine Intervention critiques the illusion of oversight—divine or otherwise. The angels are displaced, the diagram is decorative, and the switchboard hums with secular intent. The scarf becomes a wearable paradox: sacred geometry layered over systems of control, celestial logic mapped onto bureaucratic infrastructure.

Printed on polychiffon, the work gains a spectral softness. Light passes through the diagram, the figures, the wires—revealing the fragility of belief when stretched across the machinery of power. Divine Intervention is not a promise. It’s a misalignment. A visual liturgy of surveillance, inversion, and cosmic distortion.