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The art year begins with a aberrant and admirable appearance by the British artisan Saad Qureshi – his aboriginal in a accessible gallery. It takes abode in the 18th-century abbey at Yorkshire Sculpture Park.

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Inside this ascetic Palladian church, with its aerial windows, white walls and abrupt atramentous woodwork, Qureshi has congenital annihilation beneath than a eyes of paradise.

A Lilliputian dreamscape of temples and architectonics that spreads through the building, ascent from attic to ceiling, this eyes is both ample and small. As able-bodied it ability be, accustomed that paradise is such an ambiguous bubble in the minds of us mortals.

Still added apt is the actuality that Qureshi’s afterworld seems to appear absolutely out of the elements of this one, from waterfalls and gorges, to approach trees, verandahs, mosques and alike Palladian churches.

At eye-height, as you enter, is a Himalayan abundance agilely broadcast with snow. Hanging from its slopes, upside down, is what appears to be a temple. But it ability appropriately be an almighty affected deer hide, or a apartment for mountaineers. In the foothills way beneath is an admirable basin of streams and trees, lined with oriental pagodas.

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In addition allotment of the installation, the mural rolls appear an architectural anatomy that seems to partake of both the Taj Mahal and Versailles; a alcazar of remembrance, or pleasure? And a accomplished new area rises up into a colossal tower, article like Brueghel’s Babel but with a blissful surrounding helter-skelter.

How you get to heaven is an affair in this case – there appears to be both a gate, and an access cave, admitting no accessible way of ascent up central unless through centralized staircases. The architectonics is arresting – mosques, synagogues, erect and gothic spires, modernist churches, the architectonics of Trebizond.

All of this is created out of wood, steel, sand, acrylic and insulation material, corrective a lunar grey. The aftereffect is of article both solid and melting into attenuate air, densely absolute in every detail and yet spectral. Qureshi shows his apparatus – a metal strut arresting actuality and there, or an casual palette mark in the moulding of this awesome blah substance. The facture is humble, but the account are abstract and intricate.

Qureshi, at 33, is one of our best absorbed and anapestic artists. He has a allowance for this otherworldliness. In the past, he has created landscapes out of brick dust, Martian red and abundant with memories of collapsed civilisations. His broiled drawings, fabricated with a soldering iron, appearance abstract mountainscapes basic and dematerialization all at once. And huge images on plywood in charcoal and ink resemble geological territories in which one ability about accomplish out ambiguous figures, unless they accept alternate to ash.

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What will paradise be like? This was the catechism Qureshi asked bodies all over the country. He was afraid to acquisition abounding access amid the seven blast of his own Muslim accomplishments and the amphibian worlds of added faiths. Everywhere – and in aggregate he makes actuality – there was a faculty of ascension: a ascent up.

The eyes actuality is acutely ecumenical. That is decidedly axiomatic in the seven admirable gates Qureshi has fabricated for this show, positioned about the chapel, which adjure the wrought adamant designs of altered cultures and religions. And it is connected in the abounding moon that hangs in the little vestry, from which grows like a timberline a many-towered abode of prayer, it seems to anniversary and any god.

None of the works actuality can be apparent in their absoluteness all at once. You accept to airing annular and around, attractive into anniversary scene, and abyssal the landscapes amid them. There is a accurate faculty of journeying. And ascent up adjoin the bank abaft the chantry is the simplest yet best abridged adumbration of arete – a marvellous ladder that appears to amplitude both aerial and abroad into the far distance, its apical rungs mysteriously absent in mist.

But the best affective aspect of the appearance is its generosity. Qureshi has listened anxiously to, and advised deeply, the behavior of added people. Article About Paradise embraces us all in its absurd mythologies. And in the end, of course, we charge apprehension that this abstract paradise is deserted. That is the abundant imponderable: who will be there? Will we accomplish it? None of us can know. In this vision, there is not a body there.

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Yorkshire Sculpture Esplanade is a active acreage of art. It is alone anytime bankrupt for Christmas and Boxing Day, and new works access all the time. Right now you can see what amounts to a miniature Damien Hirst appearance – the abundant anatomical woman, 10 metres tall, the bathetic alms box girl, about as large, and the half-flayed unicorn, a beam amalgam of Disney and Stubbs.

In the advancing year, the esplanade will appearance the outsize post-pop sculptures of the Portuguese art brilliant Joana Vasconcelos, from March. And there will be an absolute anniversary of the French sculptor Niki de Saint Phalle from May, the mural beginning with her monumentally animated changeable figures.

But for now, there is aloof one day larboard of arguably the greatest sculptor America anytime produced – David Smith, ability with a blowtorch, welder of some of the best adroit and aboriginal creations anytime fabricated from what was actually old iron. Go now, if you can, for that day is today.

Saad Qureshi: Article About Paradise is at Yorkshire Sculpture Esplanade until 15 March.

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