Exploring Time and Space through Pablo Carlos Budassi’s Artwork

Transmission 091: Interview with Pablo Budassi

Pablo Carlos Budassi is an Argentine artist whose work spans various mediums and subjects, including sustainability and astronomy. Demonstrating artistic and mathematical abilities from childhood, he gained recognition for his programming skills during his early years. His interests expanded to music and drawing as he grew older.

Budassi’s professional focus includes human rights, arts and culture, animal welfare, the environment, and education. In 1992, Budassi ventured into the digital realm by developing a bulletin board system, an early precursor to the contemporary Internet. Over the next decade, he co-founded Nueve Millas, a music and audiovisual project, and played a significant role in the musical project Zona Ganjah, both of which attracted attention in Argentina and internationally.

Pablo Budassi‘s official site, Instagram, Youtube

In 2006, Budassi received a degree in Architecture for his thesis, “Rethinking Educational Space,” which proposed creating five eco-friendly, human-centric schools in various Argentine provinces. His interest in astronomy and space research led to the creation of the “Observable Universe Logarithmic Illustration,” a work that has gained global recognition and been featured in various science and art publications and exhibitions. Another notable work is his “Nature Timespiral,” a graphical representation of world history praised for its clarity and comprehensiveness. Budassi’s work gained widespread attention after being featured in Forbes in 2016, followed by coverage in major international media outlets such as MTV, Vice, The Independent, and Smithsonian Magazine.

Budassi also founded Awe Design, a collaborative entity focused on projects at the intersection of art, sustainability, and astronomical inquiry. With a growing career and global influence, Pablo Carlos Budassi continues to explore the boundaries of scientific illustration, inspiring new generations of artists and scientists with his unique perspective on the universe.

I read that you are a musician. What initially drew you to creating detailed visual representations of the observable universe through science infographics? Was there a specific moment or experience that sparked the idea? Can you share the story behind your circular diagram?

Of all the wonders around us, the universe has always seemed to me to be the most fascinating. A few months before coming up with the circular diagram, I was playing around with Photoshop, colouring Richard Gott’s and Mario Juric’s 2006 map of the Universe. Then, the evening before my son Matias turned four, I was sketching some paper mementos that we would present to his friends. Hexaflexagons were the medium; these are paper models with simple patterns that, when folded, reveal faces concealed inside. I was amazed at how stunning the solar system looked from the top, with the planets arranged in a hexagonal rhythm. It was also surprising that there was enough room for other universe scales, such as stars, galaxies, and the cosmic web. You could say that the one spark moment that left me in awe was realising we humans had seen too much when we were just getting our first gazes. I cannot wait to see what we will find out next in this history of the universe show.

Circular log universe first drafts:

The logarithmic scale is a key aspect of your artworks, allowing for the inclusion of vast distances. Can you elaborate on the decision to use this approach and the challenges you faced in making it visually comprehensible?

Charts, maps, and figures in scientific publications typically show densely packed information. Many of them are designed specifically to highlight a trend or key aspect of the data, providing a knowable picture. In many cases, you can show what you want by tipping the scales in your favour. I sometimes spend more than half of my time on a project deciding which scale to use. Nailing the scale is crucial for perspective and the essence of visual communication.

What kind of research and data collection went into creating the diagram? How did you ensure the accuracy of the details? What tools or techniques did you use to verify the information? How long did it take you?

So this diagram has been updated several times since its first draft in 2012, with the most recent update including a sheet with information about each celestial body. Celestial bodies are so diverse that it would be difficult to find two that do not differ significantly. There are no two identical planets or moons in our solar system, nor are there two identical star systems or galaxies in the universe. We named the most recent iteration of this circular diagram The Celestial Zoo, as we were amazed by its diversity. Many good people have provided valuable feedback and comments. Visual Capitalist, a Canadian media company, reached out to publish three of my infographics in 2022. This resulted in a thorough review of the content, during which our team worked with data analysts from this infographic powerhouse.

Pablo’s ultimate purpose, as he explores the mysteries of the universe and the meaning of existence, is to capture the world’s vast complexity through the mediums of graphic art, music, and poetry

How do you balance artistic creativity with scientific accuracy in your work? How did your background in art and science influence the creation of your pieces? How has your approach evolved over time? Were there any particular challenges in merging these two disciplines? 

My formal education as an architect taught me the value of combining function and aesthetics, as well as how to avoid the obvious path and instead experiment and evolve. I agree with using artistic licence to make the visual more appealing to a wider audience, especially if it opens up new channels for communicating otherwise too technical or unknown information. Much astronomical knowledge remains uncertain and debatable. Not the shape of the Earth, though ;) Making conscientious selfcriticism, I believe that my biggest failure is presenting confirmed scientific facts at the same visual level as unconfirmed hypotheses and failing to provide all clarifications. Also, as the art is usually in a hyper realistic style, some people may misinterpret the “maps” as an accurate scale view of the territory, and some may even think we are attempting to present these illustrations as real photos. On the other hand, these drawings are so allencompassing that adding a note for each unconfirmed fact would transform the illustration into several pages of notes. I prefer to walk along the thin ledge of what has recently been discovered or theorised, and then update the refuted hypotheses when needed.

Did you anticipate the popularity of your artwork depicting the entire universe among astronomy enthusiasts? How has this virality shaped your journey in the field of science infographics?

I would not have expected it at all! When the first image went viral, I was working on too many projects other than infographics. I was into music, visuals, audio and lighting gear, scenography, and costume design. I had just finished writing a script and storyboard for a short animation that I pretended I would make soon. I was returning to coding to pursue an ambitious idea for an app that conducts a band or orchestra. Zona Ganjah, the band I play keyboards for, was finally able to fill large venues. There was simply no time for space art. However, that image went viral on January 6, 2016. Within a week, it was on every news website, and I initially ignored it because I was preoccupied with other projects. I didn’t even have any social channels as a space artist. Fast forward a year, and the initial excitement had subsided, but people were still selling posters featuring my artwork, which had been made available for free use in the Commons. So I thought I could sell those posters as well, so I set up some merch. Sales have gradually increased to the point where I can now dedicate fulltime to this. So, undoubtedly, virality fueled and shaped my artistic career.

He is concerned about human rights, arts, culture, animal welfare, the environment, and education. He is also intrigued by shamanism, entheogen plants, astronomy, physics, and philosophy

What personal significance does your artwork “Time Spiral” hold for you? How has creating this piece influenced your own understanding?

I am very curious as to why living beings exist. While ‘Time Spiral’ does not attempt to provide an answer to that big question, it does show everything that had to happen in order for us to be where we are, as well as the time scales for everything. A universe with a “start,” followed by evolving stars that produce increasingly heavier elements, and twothirds of the time without Earth. But the last third brought everything at once: Earth, water, the Moon, and life. It seems remarkable to me that as soon as Earth cools, life is found on its surface. As if the seed of life was already present everywhere. The first noticeable thing that life did was to oxygenate the atmosphere, almost extinguishing itself in an oxygen catastrophe. But life persisted and remained quiet and microbial for threequarters of Earth’s history, until a new level of complexity emerged beyond bacteria and plants. The last quarter of Earth’s history has seen an explosion in diversity after the completion of the ozone layer. During the final .2% of Earth’s history, various hominin races interacted and blended together. Finally, Homo sapiens invented machines, giving rise to the Anthropocene epoch, which is depicted as a dark cloud engulfing all of nature. You can do whatever you want with all that information. I believe we are here for more than just oxygenating the atmosphere and eventually becoming civilised, happy, comfortable, and extinct.

Pablo received his Architect degree from the University of Mendoza in 2006 for his thesis, “Rethinking Educational Space.” The thesis includes a preliminary idea for five ecofriendly and usercentric schools that will be developed in five Argentine provinces

As our understanding of the universe expands, do you envision creating new iterations to reflect these discoveries? Are you interested in creating interpretations of theoretical concepts like the multiverse or dark matter?

This decade will see the introduction of a new generation of telescopes, including Webb, ELT, the 30 Meter Telescope, and Vera Rubin. Everything in astronomy and cosmology is changing on a weekly basis. The map of the Milky Way will soon change, as will the map of the outer solar system, our understanding of dark matter, and, eventually, the map of the entire observable universe. Hypotheses are fun to investigate, and I am definitely experimenting with some of them in my infographics. But the naked reality of the world is being dissected in front of our eyes, with new papers being published every day, and I definitely want to be there, trying to show those complex subjects through simple visuals.

The Observable Universe represents a finite section of the cosmos. As someone who depicts the vastness of the universe and time, do you think we inhabit an infinite fractal? Do you have any personal philosophies or reflections on humanity’s place within it?

Nature organises itself using fractal, constructal, and random patterns. These types of organisations usually overlap. I do not see why there should not be layers of organisation above and below the observable. Space is most likely infinite, or at least billions of times larger than the observable sphere. So we are seeing a pixel in a probably infinite resolution screen. But this pixel may contain infinite information as well, so it’s not really a pixel. Even if we cannot physically probe beyond the local group of galaxies, our observational abilities may already be expanding in a fractal way. No matter how deeply we look into the cosmos, it seems like there are always more photons, more types of neutrinos, gravitational waves—and who knows what else! A quantum universe is also waiting to be fully deciphered. Humanity has enormous potential for getting arbitrarily deep into essential questions.

His Universe concept was widely adopted, resulting in partnerships on prominent publications such as Dumont’s World Atlas (Germany), Neil deGrasse Tyson’s book “To Infinity and Beyond,” and Phaidon Editors’ book “Exploring the Astronomical World.”

Your work has been featured in science museums and publications like NASA APOD. How important is it for you to bridge the gap between scientific data and public understanding through your infographics? What do you hope viewers will take away from experiencing your work?

Science museums and exhibitions are great places to connect with something profound that will stay with you longer than scrolling on your device. I am overjoyed right now because two fantastic collaborations featuring my work have recently been confirmed for upcoming exhibitions in Barcelona and Berlin. The hope is to instil in others the same curiosity for big questions that I have had all my life. To inspire, especially young people, who will undoubtedly need to think outside the box to navigate these turbulent times.

Are there any other astronomical or scientific concepts you are currently exploring through your art? Can you give us a glimpse into any upcoming projects or ideas you are working on?

I am currently working on collaborative visualisation projects with excellent scientists. We are in the early stages of creating a detailed timeline of the universe with renowned astrophysicist Ethan Siegel. A detailed infographic of ocean life is in the late stages with evolutionary biologist Rasmus Grønfeldt Winther. Nature Timespiral will soon be expanded with three times the number of events and species. A high resolution map of our moon is almost complete. We are also working on translating our current maps and infographics. Volunteers from all over the world have been of invaluable assistance in translation. My daughter Malena, a graphic designer, is helping to make the translated material look great. We are constantly creating content for astronomy outreach through our social media channels branded The Celestial Zoo. We want to expand and resonate. We are always on the lookout for people to join our stable team of designers and content creators. We have a lot of great ideas for epic infographics and maps, and we are working hard to organise and make them all. Ultimately, the goal is to contribute to a greater understanding and appreciation of the universe. By collaborating with talented scientists and designers and engaging with a global audience, we hope to inspire curiosity and awe about the world around us.

Photos and illustrations courtesy of Pablo Carlos Budassi

Dominique Musorrafiti

Ciao! My name is Dominique. I’m Italian and I’m proud to be a mix. My father was an Italian chemical engineer and high school teacher, with Greek and Polish heritage. My mother is Haitian, she was high school language teacher, with Dominican, Spanish, French, Portuguese, African and Native American heritage. Being a mix makes me appreciate to want to understand different cultures and lifestyles. I grew up in Italy, lived few years in Haiti, travel around main European capitals, lived many years in China, in Spain and UK. Traveling makes me feel that we can learn something from every situation in every part of the world.