Primary and elementary groups (ages 7–11), secondary, middle and high school groups (ages 11–18), undergraduate and teacher-training cohorts, and general family and public audiences. Because every label carries both an artistic reading and a scientific explanation, the same gallery serves a Year 4 class, an A-level physics group and an adult visitor without separate routes or duplicated signage.

By the end of a visit, students should be able to: explain how a curved mirror reflects light and why an anamorphic sculpture resolves from only one point in space; describe projection and inverse mapping as a coordinate transformation; describe how multiphoton lithography builds a structure smaller than a grain of sand; explain that perception is constructed by the visual system rather than passively received; and outline the digital fabrication pipeline from 3D scan to finished cast object.

Three common patterns: as a structured lesson walked in the gallery, following the four-chapter route — illusion, emergence, identity, consciousness — with each chapter mapped to a topic; as a pre- and post-visit unit, where classes model the mirror geometry or the coordinate transform in class and then verify it against the physical work; and as a hands-on workshop using the optical illusion Paint by Numbers kits, which reproduce exhibited artworks and let students build and test an illusion themselves.

Yes. The studio works with the host museum's learning team to align labels, worksheets and workshops to the local curriculum — typically physics (light and optics), mathematics (geometry, transformations and coordinates), design and technology or engineering (digital fabrication), and biology or psychology (perception and the visual system). Label and wall text are available in English, Arabic and Spanish, with further translations by agreement.

Teacher previews before opening, artist and scientist talks and Q&A sessions in person or by video link, dual art/science interpretation written to be readable by a school-age visitor, and a briefing for gallery educators on the science behind each work. Enquiries: [email protected].

Allow 60–90 minutes for a full guided route through the four chapters with time at the nano sculpture microscope station and the Aura Screen dark room. A focused single-topic visit — optics only, or nanotechnology only — works well in 40 minutes. Group size is limited mainly by the microscope and dark-room stations, so rotating sub-groups is recommended for classes over 30.

Yes — it is built as a STEM learning exhibition. Every artwork is a physical demonstration of a scientific principle, and every label carries two texts: an artistic reading and the science that makes the object work. The route covers optics and reflection, geometry and projection, nanotechnology and multiphoton lithography, perception and neuroscience, and digital fabrication, and works for primary groups through to undergraduate and teacher-training visits.

Optics and light (reflection, curved mirrors, why an anamorphic sculpture resolves from only one point in space); mathematics and geometry (coordinate transforms, projection and inverse mapping); nanotechnology and materials (multiphoton lithography, photopolymer chemistry and scanning electron microscopy, shown through the Guinness-record nano sculpture Fragile Giant at 80 × 100 × 30 micrometres); perception and neuroscience (how the visual system completes and is fooled); and engineering and digital fabrication (3D scanning, computational modelling, casting and finishing).

Dual art/science interpretation on every label and wall text, written to be readable by a school-age visitor as well as an adult; a four-chapter narrative route — illusion, emergence, identity, consciousness — that a teacher can walk as a structured lesson; hands-on optical illusion Paint by Numbers kits for classroom or workshop use and for the museum shop; and artist and scientist talks, teacher previews and Q&A sessions in person or by video link. The studio works with the host museum's learning team to align labels, worksheets and workshops to the local curriculum.

The complete exhibition comprises 51 scientific artworks and requires approximately 500 m² / 5,382 sq ft. Smaller modular configurations can be adapted to the host venue's available space, and the studio produces a 3D layout visualisation from the venue's own floor plans before anything is crated.

Installation and technical calibration require 7–10 days, and de-installation also requires 7–10 days. A specialist installation engineer attends the venue to supervise and work alongside the host museum's own team.

The most recent international shipment comprised 34–60 freight pieces, including crates, pallets, packaged artworks, protective covers and exhibition components. It had a gross weight of 2,195 kg / 4,839 lb and occupied 27.639 m³ / approximately 976 ft³, with a volumetric weight of 4,607 kg / 10,157 lb, and contained no hazardous goods. The largest recorded package measured approximately 206 × 206 × 167 cm and weighed 286 kg. Final quantities vary according to the selected configuration.

The Aura Screen requires a small, dedicated dark room and one plug socket. The nano sculpture installation requires three power points: one for the microscope and two for its display screens. The remaining sculptures depend heavily on reflected light and should be presented in a bright, evenly illuminated environment, using either abundant daylight or strong artificial lighting.

Exhibition labels and wall texts are available in English, Arabic and Spanish. Additional translations can be produced by agreement with the host venue.

No. There is no minimum booking period. Loan fees depend on the selected configuration, territory and booking duration.

Shipping and insurance are normally arranged and funded by the host museum. Insurance values are supplied confidentially to qualified venues.

Yes. The show is modular. A reduced configuration keeps the four-chapter narrative structure — illusion, emergence, identity, consciousness — while fitting a smaller footprint, and the freight manifest scales with it.

Yes. Every hosting package includes a ready-made museum-shop merchandise programme, led by optical illusion paint by numbers kits drawn from the exhibited artworks, alongside prints and editions.

The work has been presented at seventeen international institutions, including the Exploratorium in San Francisco, Liberty Science Center, the Oregon Museum of Science and Industry, the Fleet Science Center in San Diego, Science Centre Singapore, the Macau Museum of Art, the Guangdong Science Center, Petrosains in Malaysia, Puke Ariki in New Zealand, Kunstkraftwerk Leipzig, the Museo Internacional del Barroco in Puebla, the Bloomfield Science Museum in Jerusalem and Science Museum Oklahoma.

Curators and touring programmers can request a formal proposal, including the curator pack, configuration options and indicative loan fees, at [email protected].