Obelisk in Thal-Ra unfolds as a pivotal vision within the mythic journey of Neferu. In this distant, extraterrestrial landscape—dominated by the presence of two suns—the sudden appearance of an obelisk generates a profound cognitive rupture. What should belong exclusively to Kemet emerges instead as a universal form, suggesting that symbolic structures transcend planetary origin.
This encounter alters perception. The obelisk is no longer a cultural artifact, but an axis—an energetic vector linking sky and ground, light and matter. In Thal-Ra, its presence implies a shared cosmological language, one that Neferu will later recognize upon returning to Egypt. The familiar becomes reinterpreted: obelisks are no longer monuments, but instruments of alignment within a larger cosmic order.
Painted in 2004, this oil on canvas (80 x 80 cm) articulates a landscape that resists naturalism. The dual suns destabilize orientation, while the terrain appears suspended between geology and vision. The composition operates as a field of revelation, where the obelisk functions as a singular vertical interruption—both anchor and signal.
Curatorially, the work occupies a foundational position within the series. It introduces the notion that Egyptian symbolism is not isolated, but rather a localized expression of a broader, possibly universal, metaphysical system.