The film reveals the inventiveness derived from the dialogue between each artist's practice and the construction of their handmade homes. The results range from the romantic (Hudson River School painter Frederic Church's Olana, framing views of the Catskills to echo his paintings), to the futuristic (Urbanist Paolo Soleri's silt-casted structure Cosanti growing out of experiments in bell making in the Arizona desert). Commentary from cultural critic Alastair Gordon and an original score by Jamie Rudolph help to evoke the spiritual dimension of the locations and argue the case that the intuitive vision of artists can create great architecture.
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Trapped in a world of domesticity and servitude, long suffering vicar's wife Valerie has spent a lifetime serving others. Lost and lonely, she makes a quiet plea to a statue of the Virgin Mary, who answers her prayers in the form of a strange force.
