“I wonder that I have so long been insensible to this charm in the skies, the tints of the different stars are so delicate in their variety,” the trailblazing astronomer Maria Mitchell marveled in her journal when she first learned to notice the different hues of the stars, almost transgressively delightful to a woman who had grown up in the Quaker tradition with its customary ban on color. To the suddenly awestruck Mitchell, the stars appeared like “a collection of precious stones” or colorful beads. How she would have relished the celestial beadwork of Native artist Margaret Nazon.

More than a century after Mitchell’s contemporary Ellen Harding Baker embroidered her stunning Solar System quilt to use as an astronomy teaching tool in an era when women had almost no access to formal education in science, and a generation after the great astrophysicist Cecilia Payne, who discovered the chemical composition of the universe, embroidered her supernova, Nazon began beading celestial objects after her partner showed her photographs of the Hubble Space Telescope in 2009 — those now-iconic images that have inspired some of our greatest poets and enchanted the popular imagination like no other visual document of science.

Against the black velvet of pure spacetime, Nazon’s intricate beadwork reaches across abstraction, across incomprehensible expanses, to make galaxies, nebulae, and constellations tangible; to render the wilderness of an impartial universe domesticated and personable. Galaxies millions of lightyears away, hundreds of lightyears wide, become intimate emissaries of spacetime on her 25×25-inch beaded canvases.

A member of the First Nation of Gwich’in, Nazon grew up on the banks of the Mackenzie River in Canada’s Northwestern Territories, steeped in a crafts tradition. She started beading at age 10. The early decorative flowers that began on moccasins and clothing eventually blossomed, half a century later, into the dazzling objects of deep space, rendered using a variety of beading techniques and bead sizes to create a beguiling three-dimensional tactility.

Nazon begins beading before dawn and often works all day, taking only short breaks between sessions, beading to the sound of classical music and jazz — Billie Holiday is a favorite. Her largest work, a triptych of the Andromeda Galaxy, took her some 200 hours.

Nazon marries integrity of representation with artistic interpretation, sometimes deliberately straying from the colors captured by the Hubble toward her favorite combination: blue and yellow, colors she associates with happiness and beauty.

With no background in science and only a rudimentary understanding of the astronomy she embroiders, her work celebrates not the cerebral but the spiritual allure of the cosmos — the way it beckons to the most elemental part of us, the part that possessed Ptolemy to scribble in the margins of his notebook two millennia ago: “I know that I am mortal by nature and ephemeral, but when I trace at my pleasure the windings to and fro of the heavenly bodies… I stand in the presence of Zeus himself and take my fill of ambrosia.”

Complement with the stunning celestial art of the self-taught 17th-century German astronomer and artist Maria Clara Eimmart, then revisit U.S. Poet Laureate Tracy K. Smith’s ode to the Hubble Space Telescope, on which her father worked as one of NASA’s first black engineers, and this Hubble classic composed by Adrienne Rich a generation earlier.