Before the era of space exploration, artists were limited to observing and admiring the moon from afar, only able to sketch and write about their perceptions. However, Samuel Peralta, a semi-retired physicist residing in Canada, has revolutionized this notion with the launch of the Lunar Codex. This groundbreaking project involves sending art to the moon in the form of Nanofiche files, which are smaller versions of microfiche, and preserving them in time capsules on the lunar surface.
In a video call, Peralta explains that the inspiration for the project came when he realized that NASA was planning to privatize lunar landers. This presented an opportunity for him to secure payload space on a rocket for his artwork, Moonstone, which was engraved on a metal disc. As he continued to pursue this venture, Peralta found additional room on the Griffin Lander, Nova-C, and NASA’s Orion orbital spacecraft. With the expansion of payload space, the technology also advanced, allowing the Nanofiche to carry terabytes of data instead of just megabytes. This breakthrough enabled the inclusion of 30,000 artists from 158 countries in the project, spanning various art forms such as magazines, books, podcasts, movies, music, and visual art. It’s worth noting that he recently acquired an artwork from Somalia, further diversifying the collection.
So, what motivated Peralta to undertake this ambitious endeavor? He states that his primary goal was to inspire artists to persevere during the difficult times of the COVID-19 pandemic. Despite terrestrial galleries being closed, the moon remained a symbol of possibility and limitless creativity. However, Peralta emphasizes that the true essence of the project lies in the impact it has on the participating artists. The spark of inspiration ignited within them will continue to grow and influence the people they encounter, leaving a lasting legacy.
Canadian artist Heather Horton expresses her deep appreciation for being included in the Lunar Codex project, stating that she is profoundly moved by the experience. She contributed paintings of her late cat, Sasha, and believes that her perception of the moon will forever change when she looks up at the night sky. Horton describes the project as the world’s longest-running art exhibition, highlighting that it is the first time women have made their mark on the moon.
For Ukrainian artist Olesya Dzhurayeva, the project provided solace and fulfillment during the tumultuous times when her country was facing invasion. She donated paintings that serve as “letters to the future,” allowing her to convey her experiences and emotions from the present. The realization that a part of her will exist beyond the confines of Earth brings her immense excitement and satisfaction.
Peralta proudly asserts that the Lunar Codex is the most extensive and inclusive project ever undertaken. What initially began as a personal endeavor to send his own artwork to the moon has transformed into a global celebration that rivals the magnitude of the 1969 lunar landing. Raised in the Philippines, Peralta’s upbringing in an artistic household played a significant role in shaping his passions. His mother’s abstract artistry and his father’s dual roles as an anthropology professor and a playwright influenced his journey. Despite pursuing a career in physics during his time at university in Wales, Peralta’s talent for writing poetry was recognized when he won an award in a BBC competition. This experience allowed him to meet Wendy Cope, a renowned poet, who bestowed kind words upon his work. Peralta indicates that while he understood the practical concerns expressed by his father about pursuing a career in writing, he continued to write in his spare time, ultimately producing 37 science-fiction novels. When asked about his future aspirations, Peralta cheekily admits that he would love to write a hit K-pop song.
It is important to note that the ownership of the moon is currently a topic of uncertainty, as there is no universally established legal framework governing this matter. Although a “Moon Treaty” was created by the United Nations in 1979, emphasizing the moon’s shared benefits for all nations, it has not been ratified, leaving room for potential issues related to space colonialism. Despite this, Peralta reveals that the Lunar Codex project has faced minimal backlash, with only a few individuals expressing concerns about “littering” the moon through the use of Nanofiche. However, Peralta reassures critics that the Nanofiche is incredibly small and its physical impact is negligible.
Ultimately, what sets the Lunar Codex apart is not its physicality but the profound metaphor it represents. Peralta himself likens the project to performance art, describing it as the greatest performance art of his life, accompanied by a smile, signifying his immense pride and joy in its realization.
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