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Visualizing Wonder

We Are Where Art & Science Collide

Art & Science Journal is a website and biannual publication about artworks that deal with themes of science, nature and technology. Based in Ottawa, Canada, our publication focuses on the wonder that occurs when fields collide. We strive to be an informative and engaging resource for educators, students, and artscience enthusiasts alike. We see artworks as a physical presence that can expand upon knowledge that we have read or heard about, and as such can act as a medium for sharing information and ideas.

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I don’t believe in escapism, fantasy, I believe in the magic that is just there. Björk

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Personal Planets
When exploring the known universe, some might wonder what new planets we may discover, occupied or uninhabited. Two artists however, Wouter van Buuren and Zainab Hussain have created landscape photographs that turn our own cities into planets, with a Little Prince-esque aesthetic.
The planet-like compositions of van Buuren look like Super Mario Galaxy levels come to life, combining all visible forms into a perfect spherical shape. What was once the downtown core of one city (such as Weert or Shanghai) now becomes its own planet. This composition connotes ideas of our homes being the centre of the universe, where, like the Little Prince, these constructed worlds become our little asteroid or planet on which we live and experience.
Zainab Hussain however, creates more specific planets, such as “West Chapters Planet” (2012), which, according to the artist’s statement, explores “the strip mall environment in suburban areas and our relationship with it”. The artist also plays with the idea of these little worlds, being “first worlds”, existing only to provide convenience. Moving from van Buuren’s urban planets, into Hussain’s suburban planets, the mapping of cities and outlying areas plays on the ideas of comfort and convenience, engulfing us. Apart from planets, the artist has also created holes, inverse images of her planets, acting like voids which suck in all that surrounds them, such as “South Cineplex Hole” (2012). Now, what used to be 360 degrees of familiar comfort becomes 360 degrees of overwhelming commodity.
-Anna Paluch
Personal Planets
When exploring the known universe, some might wonder what new planets we may discover, occupied or uninhabited. Two artists however, Wouter van Buuren and Zainab Hussain have created landscape photographs that turn our own cities into planets, with a Little Prince-esque aesthetic.
The planet-like compositions of van Buuren look like Super Mario Galaxy levels come to life, combining all visible forms into a perfect spherical shape. What was once the downtown core of one city (such as Weert or Shanghai) now becomes its own planet. This composition connotes ideas of our homes being the centre of the universe, where, like the Little Prince, these constructed worlds become our little asteroid or planet on which we live and experience.
Zainab Hussain however, creates more specific planets, such as “West Chapters Planet” (2012), which, according to the artist’s statement, explores “the strip mall environment in suburban areas and our relationship with it”. The artist also plays with the idea of these little worlds, being “first worlds”, existing only to provide convenience. Moving from van Buuren’s urban planets, into Hussain’s suburban planets, the mapping of cities and outlying areas plays on the ideas of comfort and convenience, engulfing us. Apart from planets, the artist has also created holes, inverse images of her planets, acting like voids which suck in all that surrounds them, such as “South Cineplex Hole” (2012). Now, what used to be 360 degrees of familiar comfort becomes 360 degrees of overwhelming commodity.
-Anna Paluch
Personal Planets
When exploring the known universe, some might wonder what new planets we may discover, occupied or uninhabited. Two artists however, Wouter van Buuren and Zainab Hussain have created landscape photographs that turn our own cities into planets, with a Little Prince-esque aesthetic.
The planet-like compositions of van Buuren look like Super Mario Galaxy levels come to life, combining all visible forms into a perfect spherical shape. What was once the downtown core of one city (such as Weert or Shanghai) now becomes its own planet. This composition connotes ideas of our homes being the centre of the universe, where, like the Little Prince, these constructed worlds become our little asteroid or planet on which we live and experience.
Zainab Hussain however, creates more specific planets, such as “West Chapters Planet” (2012), which, according to the artist’s statement, explores “the strip mall environment in suburban areas and our relationship with it”. The artist also plays with the idea of these little worlds, being “first worlds”, existing only to provide convenience. Moving from van Buuren’s urban planets, into Hussain’s suburban planets, the mapping of cities and outlying areas plays on the ideas of comfort and convenience, engulfing us. Apart from planets, the artist has also created holes, inverse images of her planets, acting like voids which suck in all that surrounds them, such as “South Cineplex Hole” (2012). Now, what used to be 360 degrees of familiar comfort becomes 360 degrees of overwhelming commodity.
-Anna Paluch
Personal Planets
When exploring the known universe, some might wonder what new planets we may discover, occupied or uninhabited. Two artists however, Wouter van Buuren and Zainab Hussain have created landscape photographs that turn our own cities into planets, with a Little Prince-esque aesthetic.
The planet-like compositions of van Buuren look like Super Mario Galaxy levels come to life, combining all visible forms into a perfect spherical shape. What was once the downtown core of one city (such as Weert or Shanghai) now becomes its own planet. This composition connotes ideas of our homes being the centre of the universe, where, like the Little Prince, these constructed worlds become our little asteroid or planet on which we live and experience.
Zainab Hussain however, creates more specific planets, such as “West Chapters Planet” (2012), which, according to the artist’s statement, explores “the strip mall environment in suburban areas and our relationship with it”. The artist also plays with the idea of these little worlds, being “first worlds”, existing only to provide convenience. Moving from van Buuren’s urban planets, into Hussain’s suburban planets, the mapping of cities and outlying areas plays on the ideas of comfort and convenience, engulfing us. Apart from planets, the artist has also created holes, inverse images of her planets, acting like voids which suck in all that surrounds them, such as “South Cineplex Hole” (2012). Now, what used to be 360 degrees of familiar comfort becomes 360 degrees of overwhelming commodity.
-Anna Paluch

Personal Planets

When exploring the known universe, some might wonder what new planets we may discover, occupied or uninhabited. Two artists however, Wouter van Buuren and Zainab Hussain have created landscape photographs that turn our own cities into planets, with a Little Prince-esque aesthetic.

The planet-like compositions of van Buuren look like Super Mario Galaxy levels come to life, combining all visible forms into a perfect spherical shape. What was once the downtown core of one city (such as Weert or Shanghai) now becomes its own planet. This composition connotes ideas of our homes being the centre of the universe, where, like the Little Prince, these constructed worlds become our little asteroid or planet on which we live and experience.

Zainab Hussain however, creates more specific planets, such as “West Chapters Planet” (2012), which, according to the artist’s statement, explores “the strip mall environment in suburban areas and our relationship with it”. The artist also plays with the idea of these little worlds, being “first worlds”, existing only to provide convenience. Moving from van Buuren’s urban planets, into Hussain’s suburban planets, the mapping of cities and outlying areas plays on the ideas of comfort and convenience, engulfing us. Apart from planets, the artist has also created holes, inverse images of her planets, acting like voids which suck in all that surrounds them, such as “South Cineplex Hole” (2012). Now, what used to be 360 degrees of familiar comfort becomes 360 degrees of overwhelming commodity.

-Anna Paluch

(Source: artandsciencejournal.com)

4 Photos
/ anna paluch zainab hussain wouter van buuren photography landscape landscape photography planets optical illusion art science art and science journal
Landscape Photomontage
Photographing landscapes should not be limited to a simple point and click. There are many different capturing and editing techniques that artists, such as Matt Wisniewski, Keira Gruttner, and Fong Qi Wei, use in order to capture their surroundings through their unique perspectives and digital tools.
Matt Wisniewski is a collage artist based in New York who takes fashion photographs and manipulates them to fit into a specific geological element or landscape photograph. His “Landscape” Series turns mountain ranges into heads atop human shoulders, or trees on a hillside into cascading hair. His other series’ “Mineral Minds” and “My Home is the Sea” combine minerals and stones, and crashing waves (respectfully) with the models, acting as either extensions of their anatomy or wardrobe. His work is both landscape and portrait photography in one.
Keira Gruttner also uses collage to combine elements of landscape, but unlike Matt Wisniewski, Gruttner specifically focuses on nature. The artist states that her upbringing on the East Coast of Canada inspired her to create her collages. Her work is more tactile than other digital collages, as she first prints her landscapes and then carefully selects elements from each and assembles the pieces together, like a puzzle. She often repeats the process again through scanning the first collage, to then print and prepare for the final collage.
The work of Fong Qi Wei, “Time is a Dimension”, is also puzzle-like, connecting different time-periods of the day with urban skylines to show the daily changes in our atmosphere. In one picture, we are able to see both morning and evening, as if the two were always ongoing at the same time. The artist’s work plays with time and dimension, where the photograph is not only capturing one moment in time, but many times in, what is presented as, one moment. 
Each of these artists plays with our perceptions in terms of how we remember our surroundings and especially our relationship with the landscapes around us. Their works are refreshing examples of the new techniques in landscape photography.
-Anna Paluch
Landscape Photomontage
Photographing landscapes should not be limited to a simple point and click. There are many different capturing and editing techniques that artists, such as Matt Wisniewski, Keira Gruttner, and Fong Qi Wei, use in order to capture their surroundings through their unique perspectives and digital tools.
Matt Wisniewski is a collage artist based in New York who takes fashion photographs and manipulates them to fit into a specific geological element or landscape photograph. His “Landscape” Series turns mountain ranges into heads atop human shoulders, or trees on a hillside into cascading hair. His other series’ “Mineral Minds” and “My Home is the Sea” combine minerals and stones, and crashing waves (respectfully) with the models, acting as either extensions of their anatomy or wardrobe. His work is both landscape and portrait photography in one.
Keira Gruttner also uses collage to combine elements of landscape, but unlike Matt Wisniewski, Gruttner specifically focuses on nature. The artist states that her upbringing on the East Coast of Canada inspired her to create her collages. Her work is more tactile than other digital collages, as she first prints her landscapes and then carefully selects elements from each and assembles the pieces together, like a puzzle. She often repeats the process again through scanning the first collage, to then print and prepare for the final collage.
The work of Fong Qi Wei, “Time is a Dimension”, is also puzzle-like, connecting different time-periods of the day with urban skylines to show the daily changes in our atmosphere. In one picture, we are able to see both morning and evening, as if the two were always ongoing at the same time. The artist’s work plays with time and dimension, where the photograph is not only capturing one moment in time, but many times in, what is presented as, one moment. 
Each of these artists plays with our perceptions in terms of how we remember our surroundings and especially our relationship with the landscapes around us. Their works are refreshing examples of the new techniques in landscape photography.
-Anna Paluch
Landscape Photomontage
Photographing landscapes should not be limited to a simple point and click. There are many different capturing and editing techniques that artists, such as Matt Wisniewski, Keira Gruttner, and Fong Qi Wei, use in order to capture their surroundings through their unique perspectives and digital tools.
Matt Wisniewski is a collage artist based in New York who takes fashion photographs and manipulates them to fit into a specific geological element or landscape photograph. His “Landscape” Series turns mountain ranges into heads atop human shoulders, or trees on a hillside into cascading hair. His other series’ “Mineral Minds” and “My Home is the Sea” combine minerals and stones, and crashing waves (respectfully) with the models, acting as either extensions of their anatomy or wardrobe. His work is both landscape and portrait photography in one.
Keira Gruttner also uses collage to combine elements of landscape, but unlike Matt Wisniewski, Gruttner specifically focuses on nature. The artist states that her upbringing on the East Coast of Canada inspired her to create her collages. Her work is more tactile than other digital collages, as she first prints her landscapes and then carefully selects elements from each and assembles the pieces together, like a puzzle. She often repeats the process again through scanning the first collage, to then print and prepare for the final collage.
The work of Fong Qi Wei, “Time is a Dimension”, is also puzzle-like, connecting different time-periods of the day with urban skylines to show the daily changes in our atmosphere. In one picture, we are able to see both morning and evening, as if the two were always ongoing at the same time. The artist’s work plays with time and dimension, where the photograph is not only capturing one moment in time, but many times in, what is presented as, one moment. 
Each of these artists plays with our perceptions in terms of how we remember our surroundings and especially our relationship with the landscapes around us. Their works are refreshing examples of the new techniques in landscape photography.
-Anna Paluch
Landscape Photomontage
Photographing landscapes should not be limited to a simple point and click. There are many different capturing and editing techniques that artists, such as Matt Wisniewski, Keira Gruttner, and Fong Qi Wei, use in order to capture their surroundings through their unique perspectives and digital tools.
Matt Wisniewski is a collage artist based in New York who takes fashion photographs and manipulates them to fit into a specific geological element or landscape photograph. His “Landscape” Series turns mountain ranges into heads atop human shoulders, or trees on a hillside into cascading hair. His other series’ “Mineral Minds” and “My Home is the Sea” combine minerals and stones, and crashing waves (respectfully) with the models, acting as either extensions of their anatomy or wardrobe. His work is both landscape and portrait photography in one.
Keira Gruttner also uses collage to combine elements of landscape, but unlike Matt Wisniewski, Gruttner specifically focuses on nature. The artist states that her upbringing on the East Coast of Canada inspired her to create her collages. Her work is more tactile than other digital collages, as she first prints her landscapes and then carefully selects elements from each and assembles the pieces together, like a puzzle. She often repeats the process again through scanning the first collage, to then print and prepare for the final collage.
The work of Fong Qi Wei, “Time is a Dimension”, is also puzzle-like, connecting different time-periods of the day with urban skylines to show the daily changes in our atmosphere. In one picture, we are able to see both morning and evening, as if the two were always ongoing at the same time. The artist’s work plays with time and dimension, where the photograph is not only capturing one moment in time, but many times in, what is presented as, one moment. 
Each of these artists plays with our perceptions in terms of how we remember our surroundings and especially our relationship with the landscapes around us. Their works are refreshing examples of the new techniques in landscape photography.
-Anna Paluch

Landscape Photomontage


Photographing landscapes should not be limited to a simple point and click. There are many different capturing and editing techniques that artists, such as Matt Wisniewski, Keira Gruttner, and Fong Qi Wei, use in order to capture their surroundings through their unique perspectives and digital tools.

Matt Wisniewski is a collage artist based in New York who takes fashion photographs and manipulates them to fit into a specific geological element or landscape photograph. His “Landscape” Series turns mountain ranges into heads atop human shoulders, or trees on a hillside into cascading hair. His other series’ “Mineral Minds” and “My Home is the Sea” combine minerals and stones, and crashing waves (respectfully) with the models, acting as either extensions of their anatomy or wardrobe. His work is both landscape and portrait photography in one.

Keira Gruttner also uses collage to combine elements of landscape, but unlike Matt Wisniewski, Gruttner specifically focuses on nature. The artist states that her upbringing on the East Coast of Canada inspired her to create her collages. Her work is more tactile than other digital collages, as she first prints her landscapes and then carefully selects elements from each and assembles the pieces together, like a puzzle. She often repeats the process again through scanning the first collage, to then print and prepare for the final collage.

The work of Fong Qi Wei, “Time is a Dimension”, is also puzzle-like, connecting different time-periods of the day with urban skylines to show the daily changes in our atmosphere. In one picture, we are able to see both morning and evening, as if the two were always ongoing at the same time. The artist’s work plays with time and dimension, where the photograph is not only capturing one moment in time, but many times in, what is presented as, one moment. 

Each of these artists plays with our perceptions in terms of how we remember our surroundings and especially our relationship with the landscapes around us. Their works are refreshing examples of the new techniques in landscape photography.

-Anna Paluch

(Source: artandsciencejournal.com)

4 Photos
/ anna paluch keira gruttner fong qi wei matt wisniewski photography digital photography collage nature landscape art science anatomy art and science journal photomontage
SpotLIGHT on Super Nature Design
Shanghai-based design company Super Nature Design has a unique approach to engaging audiences, by focusing on creating works that are interactive in design, communicate visually with those engaging with it, and most importantly, doing all of the above through the use of media technology.
It is not unheard of for design companies to create art, and Super Nature has a strong portfolio of interactive works, particularly those that use light and geometry to engage audiences, creating a dialogue between them, the space they are in, and the materiality and function of the work before them.
Some works, like “New Angles” (2010), include pyramid-like structures with lights that react to the movements of the viewer. Super Nature describes this work as one that reflects “the juxtaposition of subversive thinking and visual perception”, combining imagination, reality and technology. Further diving into the world of imagination is “Dreamscape” (2013) which utilizes the idea of a hypercube and the fourth dimension. Interacting with the work and its space allows audiences to experience different depths of field, as the lights travel through the many layers of the sculpture. This piece takes advantage of the architecture of the cube and characteristics of light, to create illusions that challenge our perceptions of visual dimensions.
Moving onto more literal homages to science, are works “PRISMA1666” (2011) and “Lost in Pascal’s Triangle” (2012). In “PRISMA1666”, Super Nature (collaborating with Wonwei) reference the year 1666, when Sir Isaac Newton conducted an experiment which today, is considered ”as a landmark discovery in the study of optics and color theory”. The piece consists of fifteen triangular blocks on a white surface, with colourful projections shining upon them, refracting and creating a performance of light. In “Lost in Pascal’s Triangle”, the mathematician’s triangle theory is magnified in the form of one-hundred LED triangles that are within their own fluorescent triangular holds. Audiences are encouraged to interact with the piece through a xylophone, which “generate[s] a series of music and lighting sequences”.For more examples of their works, you can visit Super Nature Design’s website here.
-Anna Paluch
SpotLIGHT on Super Nature Design
Shanghai-based design company Super Nature Design has a unique approach to engaging audiences, by focusing on creating works that are interactive in design, communicate visually with those engaging with it, and most importantly, doing all of the above through the use of media technology.
It is not unheard of for design companies to create art, and Super Nature has a strong portfolio of interactive works, particularly those that use light and geometry to engage audiences, creating a dialogue between them, the space they are in, and the materiality and function of the work before them.
Some works, like “New Angles” (2010), include pyramid-like structures with lights that react to the movements of the viewer. Super Nature describes this work as one that reflects “the juxtaposition of subversive thinking and visual perception”, combining imagination, reality and technology. Further diving into the world of imagination is “Dreamscape” (2013) which utilizes the idea of a hypercube and the fourth dimension. Interacting with the work and its space allows audiences to experience different depths of field, as the lights travel through the many layers of the sculpture. This piece takes advantage of the architecture of the cube and characteristics of light, to create illusions that challenge our perceptions of visual dimensions.
Moving onto more literal homages to science, are works “PRISMA1666” (2011) and “Lost in Pascal’s Triangle” (2012). In “PRISMA1666”, Super Nature (collaborating with Wonwei) reference the year 1666, when Sir Isaac Newton conducted an experiment which today, is considered ”as a landmark discovery in the study of optics and color theory”. The piece consists of fifteen triangular blocks on a white surface, with colourful projections shining upon them, refracting and creating a performance of light. In “Lost in Pascal’s Triangle”, the mathematician’s triangle theory is magnified in the form of one-hundred LED triangles that are within their own fluorescent triangular holds. Audiences are encouraged to interact with the piece through a xylophone, which “generate[s] a series of music and lighting sequences”.For more examples of their works, you can visit Super Nature Design’s website here.
-Anna Paluch
SpotLIGHT on Super Nature Design
Shanghai-based design company Super Nature Design has a unique approach to engaging audiences, by focusing on creating works that are interactive in design, communicate visually with those engaging with it, and most importantly, doing all of the above through the use of media technology.
It is not unheard of for design companies to create art, and Super Nature has a strong portfolio of interactive works, particularly those that use light and geometry to engage audiences, creating a dialogue between them, the space they are in, and the materiality and function of the work before them.
Some works, like “New Angles” (2010), include pyramid-like structures with lights that react to the movements of the viewer. Super Nature describes this work as one that reflects “the juxtaposition of subversive thinking and visual perception”, combining imagination, reality and technology. Further diving into the world of imagination is “Dreamscape” (2013) which utilizes the idea of a hypercube and the fourth dimension. Interacting with the work and its space allows audiences to experience different depths of field, as the lights travel through the many layers of the sculpture. This piece takes advantage of the architecture of the cube and characteristics of light, to create illusions that challenge our perceptions of visual dimensions.
Moving onto more literal homages to science, are works “PRISMA1666” (2011) and “Lost in Pascal’s Triangle” (2012). In “PRISMA1666”, Super Nature (collaborating with Wonwei) reference the year 1666, when Sir Isaac Newton conducted an experiment which today, is considered ”as a landmark discovery in the study of optics and color theory”. The piece consists of fifteen triangular blocks on a white surface, with colourful projections shining upon them, refracting and creating a performance of light. In “Lost in Pascal’s Triangle”, the mathematician’s triangle theory is magnified in the form of one-hundred LED triangles that are within their own fluorescent triangular holds. Audiences are encouraged to interact with the piece through a xylophone, which “generate[s] a series of music and lighting sequences”.For more examples of their works, you can visit Super Nature Design’s website here.
-Anna Paluch
SpotLIGHT on Super Nature Design
Shanghai-based design company Super Nature Design has a unique approach to engaging audiences, by focusing on creating works that are interactive in design, communicate visually with those engaging with it, and most importantly, doing all of the above through the use of media technology.
It is not unheard of for design companies to create art, and Super Nature has a strong portfolio of interactive works, particularly those that use light and geometry to engage audiences, creating a dialogue between them, the space they are in, and the materiality and function of the work before them.
Some works, like “New Angles” (2010), include pyramid-like structures with lights that react to the movements of the viewer. Super Nature describes this work as one that reflects “the juxtaposition of subversive thinking and visual perception”, combining imagination, reality and technology. Further diving into the world of imagination is “Dreamscape” (2013) which utilizes the idea of a hypercube and the fourth dimension. Interacting with the work and its space allows audiences to experience different depths of field, as the lights travel through the many layers of the sculpture. This piece takes advantage of the architecture of the cube and characteristics of light, to create illusions that challenge our perceptions of visual dimensions.
Moving onto more literal homages to science, are works “PRISMA1666” (2011) and “Lost in Pascal’s Triangle” (2012). In “PRISMA1666”, Super Nature (collaborating with Wonwei) reference the year 1666, when Sir Isaac Newton conducted an experiment which today, is considered ”as a landmark discovery in the study of optics and color theory”. The piece consists of fifteen triangular blocks on a white surface, with colourful projections shining upon them, refracting and creating a performance of light. In “Lost in Pascal’s Triangle”, the mathematician’s triangle theory is magnified in the form of one-hundred LED triangles that are within their own fluorescent triangular holds. Audiences are encouraged to interact with the piece through a xylophone, which “generate[s] a series of music and lighting sequences”.For more examples of their works, you can visit Super Nature Design’s website here.
-Anna Paluch

SpotLIGHT on Super Nature Design

Shanghai-based design company Super Nature Design has a unique approach to engaging audiences, by focusing on creating works that are interactive in design, communicate visually with those engaging with it, and most importantly, doing all of the above through the use of media technology.

It is not unheard of for design companies to create art, and Super Nature has a strong portfolio of interactive works, particularly those that use light and geometry to engage audiences, creating a dialogue between them, the space they are in, and the materiality and function of the work before them.

Some works, like “New Angles” (2010), include pyramid-like structures with lights that react to the movements of the viewer. Super Nature describes this work as one that reflects “the juxtaposition of subversive thinking and visual perception”, combining imagination, reality and technology. Further diving into the world of imagination is “Dreamscape” (2013) which utilizes the idea of a hypercube and the fourth dimension. Interacting with the work and its space allows audiences to experience different depths of field, as the lights travel through the many layers of the sculpture. This piece takes advantage of the architecture of the cube and characteristics of light, to create illusions that challenge our perceptions of visual dimensions.

Moving onto more literal homages to science, are works “PRISMA1666” (2011) and “Lost in Pascal’s Triangle” (2012). In “PRISMA1666”, Super Nature (collaborating with Wonwei) reference the year 1666, when Sir Isaac Newton conducted an experiment which today, is considered ”as a landmark discovery in the study of optics and color theory”. The piece consists of fifteen triangular blocks on a white surface, with colourful projections shining upon them, refracting and creating a performance of light. In “Lost in Pascal’s Triangle”, the mathematician’s triangle theory is magnified in the form of one-hundred LED triangles that are within their own fluorescent triangular holds. Audiences are encouraged to interact with the piece through a xylophone, which “generate[s] a series of music and lighting sequences”.

For more examples of their works, you can visit Super Nature Design’s website here.

-Anna Paluch

(Source: artandsciencejournal.com)

4 Photos
/ anna paluch Super Nature Design Dreamscape New Angles PRISMA1666 Lost in Pascal's Triangle optics light technology optical illusion Wonwei geometry interactive art art science art and science journal LED hypercube dimensions media art design shanghai
Encased
A frame is not the only way to encase an artwork for display. More artists are experimenting with plastic resins or glass to create their pieces. The resin preserves the work, more so than a wooden frame would do. The results are often similar to prehistoric sap with various objects from leaves to bugs, found within them.
If it wasn’t for plastic resin, some of artist Peter Alexander’s works would not even exist, as his piece “Cloud Box” (1966) consisted of “introducing water vapor to the liquid resin during the casting process” which created the cloud within. The artist was actually able to ‘catch’ a cloud, or technically, create a cloud and trap it forever, thanks to the resin.
Another artist who tampers with their resin to create unique pieces is Michal Macku, who in 1989 began working with ‘gellage’, his own invention of combining collage elements and gelatin. Working with gelatin prints, the artist is able to reshape his photographs, “changing their relationships and endowing them with new meanings during the transfer”. He then combines this process with state-of-the-art technology to great his large scale glass gellages, which trap his images in a 3D setting, rather than flat like a photograph.
Roni Horn’s “Well and Truly” (2009-2010) plays with illusion, where the work at first seems like a container holding water, but inspecting the piece reveals the work’s true medium; a solid cylinder of glass. The artist emanates the characteristic of water, its changeability, by allowing air to come into contact with the top of the glass as it sets in its mold, creating a smooth gloss. The artist undermines “all certainty about [the piece’s] solid or liquid nature” changing the physical experience of the viewer.
Changing physical materiality is also present in Kirsten Baskett’s pieces, such as “Autonoma”. Baskett etches delicate images onto fine Japanese kozo paper, later encasing them in clear resin, and the once “fragile paper becomes indestructible and untouchable”. The artist sees her pieces as frozen in time, permanently available to view, but never to experience the true materiality of the object captured within.
-Anna Paluch
Encased
A frame is not the only way to encase an artwork for display. More artists are experimenting with plastic resins or glass to create their pieces. The resin preserves the work, more so than a wooden frame would do. The results are often similar to prehistoric sap with various objects from leaves to bugs, found within them.
If it wasn’t for plastic resin, some of artist Peter Alexander’s works would not even exist, as his piece “Cloud Box” (1966) consisted of “introducing water vapor to the liquid resin during the casting process” which created the cloud within. The artist was actually able to ‘catch’ a cloud, or technically, create a cloud and trap it forever, thanks to the resin.
Another artist who tampers with their resin to create unique pieces is Michal Macku, who in 1989 began working with ‘gellage’, his own invention of combining collage elements and gelatin. Working with gelatin prints, the artist is able to reshape his photographs, “changing their relationships and endowing them with new meanings during the transfer”. He then combines this process with state-of-the-art technology to great his large scale glass gellages, which trap his images in a 3D setting, rather than flat like a photograph.
Roni Horn’s “Well and Truly” (2009-2010) plays with illusion, where the work at first seems like a container holding water, but inspecting the piece reveals the work’s true medium; a solid cylinder of glass. The artist emanates the characteristic of water, its changeability, by allowing air to come into contact with the top of the glass as it sets in its mold, creating a smooth gloss. The artist undermines “all certainty about [the piece’s] solid or liquid nature” changing the physical experience of the viewer.
Changing physical materiality is also present in Kirsten Baskett’s pieces, such as “Autonoma”. Baskett etches delicate images onto fine Japanese kozo paper, later encasing them in clear resin, and the once “fragile paper becomes indestructible and untouchable”. The artist sees her pieces as frozen in time, permanently available to view, but never to experience the true materiality of the object captured within.
-Anna Paluch
Encased
A frame is not the only way to encase an artwork for display. More artists are experimenting with plastic resins or glass to create their pieces. The resin preserves the work, more so than a wooden frame would do. The results are often similar to prehistoric sap with various objects from leaves to bugs, found within them.
If it wasn’t for plastic resin, some of artist Peter Alexander’s works would not even exist, as his piece “Cloud Box” (1966) consisted of “introducing water vapor to the liquid resin during the casting process” which created the cloud within. The artist was actually able to ‘catch’ a cloud, or technically, create a cloud and trap it forever, thanks to the resin.
Another artist who tampers with their resin to create unique pieces is Michal Macku, who in 1989 began working with ‘gellage’, his own invention of combining collage elements and gelatin. Working with gelatin prints, the artist is able to reshape his photographs, “changing their relationships and endowing them with new meanings during the transfer”. He then combines this process with state-of-the-art technology to great his large scale glass gellages, which trap his images in a 3D setting, rather than flat like a photograph.
Roni Horn’s “Well and Truly” (2009-2010) plays with illusion, where the work at first seems like a container holding water, but inspecting the piece reveals the work’s true medium; a solid cylinder of glass. The artist emanates the characteristic of water, its changeability, by allowing air to come into contact with the top of the glass as it sets in its mold, creating a smooth gloss. The artist undermines “all certainty about [the piece’s] solid or liquid nature” changing the physical experience of the viewer.
Changing physical materiality is also present in Kirsten Baskett’s pieces, such as “Autonoma”. Baskett etches delicate images onto fine Japanese kozo paper, later encasing them in clear resin, and the once “fragile paper becomes indestructible and untouchable”. The artist sees her pieces as frozen in time, permanently available to view, but never to experience the true materiality of the object captured within.
-Anna Paluch
Encased
A frame is not the only way to encase an artwork for display. More artists are experimenting with plastic resins or glass to create their pieces. The resin preserves the work, more so than a wooden frame would do. The results are often similar to prehistoric sap with various objects from leaves to bugs, found within them.
If it wasn’t for plastic resin, some of artist Peter Alexander’s works would not even exist, as his piece “Cloud Box” (1966) consisted of “introducing water vapor to the liquid resin during the casting process” which created the cloud within. The artist was actually able to ‘catch’ a cloud, or technically, create a cloud and trap it forever, thanks to the resin.
Another artist who tampers with their resin to create unique pieces is Michal Macku, who in 1989 began working with ‘gellage’, his own invention of combining collage elements and gelatin. Working with gelatin prints, the artist is able to reshape his photographs, “changing their relationships and endowing them with new meanings during the transfer”. He then combines this process with state-of-the-art technology to great his large scale glass gellages, which trap his images in a 3D setting, rather than flat like a photograph.
Roni Horn’s “Well and Truly” (2009-2010) plays with illusion, where the work at first seems like a container holding water, but inspecting the piece reveals the work’s true medium; a solid cylinder of glass. The artist emanates the characteristic of water, its changeability, by allowing air to come into contact with the top of the glass as it sets in its mold, creating a smooth gloss. The artist undermines “all certainty about [the piece’s] solid or liquid nature” changing the physical experience of the viewer.
Changing physical materiality is also present in Kirsten Baskett’s pieces, such as “Autonoma”. Baskett etches delicate images onto fine Japanese kozo paper, later encasing them in clear resin, and the once “fragile paper becomes indestructible and untouchable”. The artist sees her pieces as frozen in time, permanently available to view, but never to experience the true materiality of the object captured within.
-Anna Paluch

Encased

A frame is not the only way to encase an artwork for display. More artists are experimenting with plastic resins or glass to create their pieces. The resin preserves the work, more so than a wooden frame would do. The results are often similar to prehistoric sap with various objects from leaves to bugs, found within them.

If it wasn’t for plastic resin, some of artist Peter Alexander’s works would not even exist, as his piece “Cloud Box” (1966) consisted of “introducing water vapor to the liquid resin during the casting process” which created the cloud within. The artist was actually able to ‘catch’ a cloud, or technically, create a cloud and trap it forever, thanks to the resin.

Another artist who tampers with their resin to create unique pieces is Michal Macku, who in 1989 began working with ‘gellage’, his own invention of combining collage elements and gelatin. Working with gelatin prints, the artist is able to reshape his photographs, “changing their relationships and endowing them with new meanings during the transfer”. He then combines this process with state-of-the-art technology to great his large scale glass gellages, which trap his images in a 3D setting, rather than flat like a photograph.

Roni Horn’s “Well and Truly” (2009-2010) plays with illusion, where the work at first seems like a container holding water, but inspecting the piece reveals the work’s true medium; a solid cylinder of glass. The artist emanates the characteristic of water, its changeability, by allowing air to come into contact with the top of the glass as it sets in its mold, creating a smooth gloss. The artist undermines “all certainty about [the piece’s] solid or liquid nature” changing the physical experience of the viewer.

Changing physical materiality is also present in Kirsten Baskett’s pieces, such as “Autonoma”. Baskett etches delicate images onto fine Japanese kozo paper, later encasing them in clear resin, and the once “fragile paper becomes indestructible and untouchable”. The artist sees her pieces as frozen in time, permanently available to view, but never to experience the true materiality of the object captured within.

-Anna Paluch

(Source: artandsciencejournal.com)

4 Photos
/ anna paluch michal macku peter alexander roni horn kirsten baskett resin plastic resin glass resin photography art science preservation art and science journal gellage materiality changeability
The Invisible Presence
The works of Canadian artists Janet Cardiff and George Bures Miller often create a potent atmosphere through the abundant use of antiquated objects and nostalgic memorabilia. Kitty Scott of the AGO astutely thought to link the words memory palace to their works, which have been collected in a retrospective show held at the AGO and the Vancouver Art Gallery, where I was lucky enough to experience it. This description is most accurate because each piece is a complex network of memories that are at once accessible and completely foreign to the viewer. Works such as Dark Pool, 1995, Opera for a Small Room, 2005, and The Killing Machine, 2007, are composed of dense collections of used objects that have a strongly uncanny presence. The objects are often well worn and bear the musk of a former possessor. They are commonplace objects: vinyl records, tea cups, personal diaries and journals, all domestic items that most visitors have been intimately familiar with at one point in their life. And yet now the objects are being used and displayed so strangely in dark, heavy installations that any personal memories evoked in the viewer are undeniably contaminated by a foreign presence.
In Opera for a Small Room Cardiff & Miller use programmed lighting and robots to create the visual and aural traces of an unseeable person performing for the audience. The sound system plays a recording of the invisible man scuffling through the room, sorting through the stacks of records and speaking to the audience. His presence is further supported by lighting that creates his shadow flickering around the room and robotics that pull out his chair and turn on the record players. The invisible presence of modern technology is disguised as the invisible presence of the ghost who inhabits the installation. 
The Killing Machine has a menacing presence when visitors are first confronted with it. Two gangly and yet sinister robotic arms, as well as a variety of old television sets emitting buzzing static images surround an electronic dentist’s chair. The experience of the installation however only truly begins when the viewer inevitable pushes the large button that entices visitors to PRESS it. The Killing Machine is then brought to life and the viewer can only watch in horror as an invisible victim is tortured to death by the robotic arms equipped with firing pneumatic pistons that whirl in a dance of death around the chair. Click here to watch The Killing Machine in action.
Underlying the dated and decrepit objects of the Cardiff & Miller installations is a force used to create the eerie presence of their pieces. These artists ironically rely on the latest technology to bring new life and a new presence to their installations. Robotics and precise programming are essential to the execution of these pieces. Interestingly, in an interview with Canadian Art Cardiff explained that “Technology is not the subject matter for us,” and Miller was quick to follow, stating, “The concern is only in what it can do for us.”  Despite this aloof attitude towards technology, the duo is dependent upon the latest innovations to bring their ideas to fruition. Art and technology are inseparable from each other in the work of these two artists.
The Vancouver Art Gallery is set to host Lost in the Memory Palace from June 21st to September 21st, 2014.
- Emily Cluett
The Invisible Presence
The works of Canadian artists Janet Cardiff and George Bures Miller often create a potent atmosphere through the abundant use of antiquated objects and nostalgic memorabilia. Kitty Scott of the AGO astutely thought to link the words memory palace to their works, which have been collected in a retrospective show held at the AGO and the Vancouver Art Gallery, where I was lucky enough to experience it. This description is most accurate because each piece is a complex network of memories that are at once accessible and completely foreign to the viewer. Works such as Dark Pool, 1995, Opera for a Small Room, 2005, and The Killing Machine, 2007, are composed of dense collections of used objects that have a strongly uncanny presence. The objects are often well worn and bear the musk of a former possessor. They are commonplace objects: vinyl records, tea cups, personal diaries and journals, all domestic items that most visitors have been intimately familiar with at one point in their life. And yet now the objects are being used and displayed so strangely in dark, heavy installations that any personal memories evoked in the viewer are undeniably contaminated by a foreign presence.
In Opera for a Small Room Cardiff & Miller use programmed lighting and robots to create the visual and aural traces of an unseeable person performing for the audience. The sound system plays a recording of the invisible man scuffling through the room, sorting through the stacks of records and speaking to the audience. His presence is further supported by lighting that creates his shadow flickering around the room and robotics that pull out his chair and turn on the record players. The invisible presence of modern technology is disguised as the invisible presence of the ghost who inhabits the installation. 
The Killing Machine has a menacing presence when visitors are first confronted with it. Two gangly and yet sinister robotic arms, as well as a variety of old television sets emitting buzzing static images surround an electronic dentist’s chair. The experience of the installation however only truly begins when the viewer inevitable pushes the large button that entices visitors to PRESS it. The Killing Machine is then brought to life and the viewer can only watch in horror as an invisible victim is tortured to death by the robotic arms equipped with firing pneumatic pistons that whirl in a dance of death around the chair. Click here to watch The Killing Machine in action.
Underlying the dated and decrepit objects of the Cardiff & Miller installations is a force used to create the eerie presence of their pieces. These artists ironically rely on the latest technology to bring new life and a new presence to their installations. Robotics and precise programming are essential to the execution of these pieces. Interestingly, in an interview with Canadian Art Cardiff explained that “Technology is not the subject matter for us,” and Miller was quick to follow, stating, “The concern is only in what it can do for us.”  Despite this aloof attitude towards technology, the duo is dependent upon the latest innovations to bring their ideas to fruition. Art and technology are inseparable from each other in the work of these two artists.
The Vancouver Art Gallery is set to host Lost in the Memory Palace from June 21st to September 21st, 2014.
- Emily Cluett
The Invisible Presence
The works of Canadian artists Janet Cardiff and George Bures Miller often create a potent atmosphere through the abundant use of antiquated objects and nostalgic memorabilia. Kitty Scott of the AGO astutely thought to link the words memory palace to their works, which have been collected in a retrospective show held at the AGO and the Vancouver Art Gallery, where I was lucky enough to experience it. This description is most accurate because each piece is a complex network of memories that are at once accessible and completely foreign to the viewer. Works such as Dark Pool, 1995, Opera for a Small Room, 2005, and The Killing Machine, 2007, are composed of dense collections of used objects that have a strongly uncanny presence. The objects are often well worn and bear the musk of a former possessor. They are commonplace objects: vinyl records, tea cups, personal diaries and journals, all domestic items that most visitors have been intimately familiar with at one point in their life. And yet now the objects are being used and displayed so strangely in dark, heavy installations that any personal memories evoked in the viewer are undeniably contaminated by a foreign presence.
In Opera for a Small Room Cardiff & Miller use programmed lighting and robots to create the visual and aural traces of an unseeable person performing for the audience. The sound system plays a recording of the invisible man scuffling through the room, sorting through the stacks of records and speaking to the audience. His presence is further supported by lighting that creates his shadow flickering around the room and robotics that pull out his chair and turn on the record players. The invisible presence of modern technology is disguised as the invisible presence of the ghost who inhabits the installation. 
The Killing Machine has a menacing presence when visitors are first confronted with it. Two gangly and yet sinister robotic arms, as well as a variety of old television sets emitting buzzing static images surround an electronic dentist’s chair. The experience of the installation however only truly begins when the viewer inevitable pushes the large button that entices visitors to PRESS it. The Killing Machine is then brought to life and the viewer can only watch in horror as an invisible victim is tortured to death by the robotic arms equipped with firing pneumatic pistons that whirl in a dance of death around the chair. Click here to watch The Killing Machine in action.
Underlying the dated and decrepit objects of the Cardiff & Miller installations is a force used to create the eerie presence of their pieces. These artists ironically rely on the latest technology to bring new life and a new presence to their installations. Robotics and precise programming are essential to the execution of these pieces. Interestingly, in an interview with Canadian Art Cardiff explained that “Technology is not the subject matter for us,” and Miller was quick to follow, stating, “The concern is only in what it can do for us.”  Despite this aloof attitude towards technology, the duo is dependent upon the latest innovations to bring their ideas to fruition. Art and technology are inseparable from each other in the work of these two artists.
The Vancouver Art Gallery is set to host Lost in the Memory Palace from June 21st to September 21st, 2014.
- Emily Cluett

The Invisible Presence

The works of Canadian artists Janet Cardiff and George Bures Miller often create a potent atmosphere through the abundant use of antiquated objects and nostalgic memorabilia. Kitty Scott of the AGO astutely thought to link the words memory palace to their works, which have been collected in a retrospective show held at the AGO and the Vancouver Art Gallery, where I was lucky enough to experience it. This description is most accurate because each piece is a complex network of memories that are at once accessible and completely foreign to the viewer. Works such as Dark Pool, 1995, Opera for a Small Room, 2005, and The Killing Machine, 2007, are composed of dense collections of used objects that have a strongly uncanny presence. The objects are often well worn and bear the musk of a former possessor. They are commonplace objects: vinyl records, tea cups, personal diaries and journals, all domestic items that most visitors have been intimately familiar with at one point in their life. And yet now the objects are being used and displayed so strangely in dark, heavy installations that any personal memories evoked in the viewer are undeniably contaminated by a foreign presence.

In Opera for a Small Room Cardiff & Miller use programmed lighting and robots to create the visual and aural traces of an unseeable person performing for the audience. The sound system plays a recording of the invisible man scuffling through the room, sorting through the stacks of records and speaking to the audience. His presence is further supported by lighting that creates his shadow flickering around the room and robotics that pull out his chair and turn on the record players. The invisible presence of modern technology is disguised as the invisible presence of the ghost who inhabits the installation.

The Killing Machine has a menacing presence when visitors are first confronted with it. Two gangly and yet sinister robotic arms, as well as a variety of old television sets emitting buzzing static images surround an electronic dentist’s chair. The experience of the installation however only truly begins when the viewer inevitable pushes the large button that entices visitors to PRESS it. The Killing Machine is then brought to life and the viewer can only watch in horror as an invisible victim is tortured to death by the robotic arms equipped with firing pneumatic pistons that whirl in a dance of death around the chair. Click here to watch The Killing Machine in action.

Underlying the dated and decrepit objects of the Cardiff & Miller installations is a force used to create the eerie presence of their pieces. These artists ironically rely on the latest technology to bring new life and a new presence to their installations. Robotics and precise programming are essential to the execution of these pieces. Interestingly, in an interview with Canadian Art Cardiff explained that “Technology is not the subject matter for us,” and Miller was quick to follow, stating, “The concern is only in what it can do for us.”  Despite this aloof attitude towards technology, the duo is dependent upon the latest innovations to bring their ideas to fruition. Art and technology are inseparable from each other in the work of these two artists.

The Vancouver Art Gallery is set to host Lost in the Memory Palace from June 21st to September 21st, 2014.

- Emily Cluett

3 Photos
/ janet cardiff george bures miller installation art robotics AGO vancouver art vancity
BUZZ: Insects As Art
Insects may be pests, but they are important not only for our environment, but also great inspirations for artistic expressions.
A few months ago there was an exhibit at Ottawa’s Gallery 101 called BUZZ: Getting to Know Other Animals, curated by Laura Margita, which explored insects as both specimen and art, featuring the works of Kimberly Edgar, Deborah Margo, Bioni Samp, and Amy Swartz, with borrowed specimens from the Canadian National Collection of Insects, Arachnids, and Nematodes (CNC).
Thorough research and creative expression came together, juxtaposing scientific names and species groups with artistic titles and aesthetical organization.
Kimberly Edgar’s work was used to tell a story through her drawings, which as she stated “forces her to analyze them aesthetically, so that she is no longer thinking about them fearfully, but learning to appreciate them as beautiful and interesting; and that drawing them allows her to cross that fine line between revulsion and fascination”.
The work of Deborah Margo created a garden in the gallery space as a form of experiment, where the work “[stimulated] bodies and minds by combining creative experimentation, ecological sustainability, and nourishment for two specific animal species: bees and cultural workers”. Working specifically with those two entities in mind created a piece which formed a dialogue between social and ecological systems.
Bioni Samp performed at the Canadian Museum of Nature, where he exhibited his DJ-skills combining music and bee frequencies, to raise awareness on the plight of bees.
Amy Swartz created intricate installations, similar to the display cases on loan from the CNC, which “[explored] the idea of obsession — not only in the practice of art, but also in humanity’s perceived control over nature, life, and death”. Juxtaposing her specimens with the ones from the CNC was deliberate, to make one “consider how the gaze of the scientist and the gaze of the artist may differ in regards to the animals they are studying”.
In general, the exhibit was not about getting over phobias of ‘creepy’ insects or merely admiring their natural patterns and colours, but about remembering the importance of even the smallest of organisms to our environment. It was a wake-up call to protect Canada’s biodiversity, celebrating the beauty and importance of these little creatures.
-Anna Paluch
BUZZ: Insects As Art
Insects may be pests, but they are important not only for our environment, but also great inspirations for artistic expressions.
A few months ago there was an exhibit at Ottawa’s Gallery 101 called BUZZ: Getting to Know Other Animals, curated by Laura Margita, which explored insects as both specimen and art, featuring the works of Kimberly Edgar, Deborah Margo, Bioni Samp, and Amy Swartz, with borrowed specimens from the Canadian National Collection of Insects, Arachnids, and Nematodes (CNC).
Thorough research and creative expression came together, juxtaposing scientific names and species groups with artistic titles and aesthetical organization.
Kimberly Edgar’s work was used to tell a story through her drawings, which as she stated “forces her to analyze them aesthetically, so that she is no longer thinking about them fearfully, but learning to appreciate them as beautiful and interesting; and that drawing them allows her to cross that fine line between revulsion and fascination”.
The work of Deborah Margo created a garden in the gallery space as a form of experiment, where the work “[stimulated] bodies and minds by combining creative experimentation, ecological sustainability, and nourishment for two specific animal species: bees and cultural workers”. Working specifically with those two entities in mind created a piece which formed a dialogue between social and ecological systems.
Bioni Samp performed at the Canadian Museum of Nature, where he exhibited his DJ-skills combining music and bee frequencies, to raise awareness on the plight of bees.
Amy Swartz created intricate installations, similar to the display cases on loan from the CNC, which “[explored] the idea of obsession — not only in the practice of art, but also in humanity’s perceived control over nature, life, and death”. Juxtaposing her specimens with the ones from the CNC was deliberate, to make one “consider how the gaze of the scientist and the gaze of the artist may differ in regards to the animals they are studying”.
In general, the exhibit was not about getting over phobias of ‘creepy’ insects or merely admiring their natural patterns and colours, but about remembering the importance of even the smallest of organisms to our environment. It was a wake-up call to protect Canada’s biodiversity, celebrating the beauty and importance of these little creatures.
-Anna Paluch
BUZZ: Insects As Art
Insects may be pests, but they are important not only for our environment, but also great inspirations for artistic expressions.
A few months ago there was an exhibit at Ottawa’s Gallery 101 called BUZZ: Getting to Know Other Animals, curated by Laura Margita, which explored insects as both specimen and art, featuring the works of Kimberly Edgar, Deborah Margo, Bioni Samp, and Amy Swartz, with borrowed specimens from the Canadian National Collection of Insects, Arachnids, and Nematodes (CNC).
Thorough research and creative expression came together, juxtaposing scientific names and species groups with artistic titles and aesthetical organization.
Kimberly Edgar’s work was used to tell a story through her drawings, which as she stated “forces her to analyze them aesthetically, so that she is no longer thinking about them fearfully, but learning to appreciate them as beautiful and interesting; and that drawing them allows her to cross that fine line between revulsion and fascination”.
The work of Deborah Margo created a garden in the gallery space as a form of experiment, where the work “[stimulated] bodies and minds by combining creative experimentation, ecological sustainability, and nourishment for two specific animal species: bees and cultural workers”. Working specifically with those two entities in mind created a piece which formed a dialogue between social and ecological systems.
Bioni Samp performed at the Canadian Museum of Nature, where he exhibited his DJ-skills combining music and bee frequencies, to raise awareness on the plight of bees.
Amy Swartz created intricate installations, similar to the display cases on loan from the CNC, which “[explored] the idea of obsession — not only in the practice of art, but also in humanity’s perceived control over nature, life, and death”. Juxtaposing her specimens with the ones from the CNC was deliberate, to make one “consider how the gaze of the scientist and the gaze of the artist may differ in regards to the animals they are studying”.
In general, the exhibit was not about getting over phobias of ‘creepy’ insects or merely admiring their natural patterns and colours, but about remembering the importance of even the smallest of organisms to our environment. It was a wake-up call to protect Canada’s biodiversity, celebrating the beauty and importance of these little creatures.
-Anna Paluch

BUZZ: Insects As Art

Insects may be pests, but they are important not only for our environment, but also great inspirations for artistic expressions.

A few months ago there was an exhibit at Ottawa’s Gallery 101 called BUZZ: Getting to Know Other Animals, curated by Laura Margita, which explored insects as both specimen and art, featuring the works of Kimberly Edgar, Deborah Margo, Bioni Samp, and Amy Swartz, with borrowed specimens from the Canadian National Collection of Insects, Arachnids, and Nematodes (CNC).

Thorough research and creative expression came together, juxtaposing scientific names and species groups with artistic titles and aesthetical organization.

Kimberly Edgar’s work was used to tell a story through her drawings, which as she stated “forces her to analyze them aesthetically, so that she is no longer thinking about them fearfully, but learning to appreciate them as beautiful and interesting; and that drawing them allows her to cross that fine line between revulsion and fascination”.

The work of Deborah Margo created a garden in the gallery space as a form of experiment, where the work “[stimulated] bodies and minds by combining creative experimentation, ecological sustainability, and nourishment for two specific animal species: bees and cultural workers”. Working specifically with those two entities in mind created a piece which formed a dialogue between social and ecological systems.

Bioni Samp performed at the Canadian Museum of Nature, where he exhibited his DJ-skills combining music and bee frequencies, to raise awareness on the plight of bees.

Amy Swartz created intricate installations, similar to the display cases on loan from the CNC, which “[explored] the idea of obsession — not only in the practice of art, but also in humanity’s perceived control over nature, life, and death”. Juxtaposing her specimens with the ones from the CNC was deliberate, to make one “consider how the gaze of the scientist and the gaze of the artist may differ in regards to the animals they are studying”.

In general, the exhibit was not about getting over phobias of ‘creepy’ insects or merely admiring their natural patterns and colours, but about remembering the importance of even the smallest of organisms to our environment. It was a wake-up call to protect Canada’s biodiversity, celebrating the beauty and importance of these little creatures.

-Anna Paluch

3 Photos
/ anna paluch deborah margo bioni samp laura margita gallery 101 ottawa ottawa art BUZZ kimberly edgar amy swartz Canadian National Collection of Insects insects bees art science art and science journal Environment ecology biodiversity
Processing the Process
Jacinthe Lessard-L’s photographic and sculptural series La Chambre, 2010-2012, beautifully illuminates the integral relationship of art and the technology that makes it possible. Visitors to Truck Contemporary Gallery in Calgary where the works are being exhibited were confronted with walls lined with larger-than-life prints of colourful geometric shapes. These forms seem at once familiar in shape, but also alien due to the strange matte texture and bright pops of colour. Lessard-L’s series is visually stunning and initially elusive, thus drawing the viewer in for a closer look. Upon further inspection it becomes evident that the photos have captured the images of casts of the inner chambers of popular cameras from previous decades.
The strange physicality and unnatural colours of the silicone casts emphasize the wonder of the photographic process. In making visible the interior machinery of these devices one would assume that it would make the process more comprehensible, but it ironically remains just as elusive, if not more so.
There is a poetic self-referentiality to these works. The casts take shape within the camera in the same chambers where light is transformed into a photographic image. Lessard-L’s process makes physical the transformation chambers of the camera, putting the device and its process through a materialization of itself.  As Luba Diduch writes in an essay on this body of work “Lessard’s intention is to create an homage to an important space that, she says, is shrinking over time due to developments in technology.”
- Emily Cluett
Processing the Process
Jacinthe Lessard-L’s photographic and sculptural series La Chambre, 2010-2012, beautifully illuminates the integral relationship of art and the technology that makes it possible. Visitors to Truck Contemporary Gallery in Calgary where the works are being exhibited were confronted with walls lined with larger-than-life prints of colourful geometric shapes. These forms seem at once familiar in shape, but also alien due to the strange matte texture and bright pops of colour. Lessard-L’s series is visually stunning and initially elusive, thus drawing the viewer in for a closer look. Upon further inspection it becomes evident that the photos have captured the images of casts of the inner chambers of popular cameras from previous decades.
The strange physicality and unnatural colours of the silicone casts emphasize the wonder of the photographic process. In making visible the interior machinery of these devices one would assume that it would make the process more comprehensible, but it ironically remains just as elusive, if not more so.
There is a poetic self-referentiality to these works. The casts take shape within the camera in the same chambers where light is transformed into a photographic image. Lessard-L’s process makes physical the transformation chambers of the camera, putting the device and its process through a materialization of itself.  As Luba Diduch writes in an essay on this body of work “Lessard’s intention is to create an homage to an important space that, she says, is shrinking over time due to developments in technology.”
- Emily Cluett
Processing the Process
Jacinthe Lessard-L’s photographic and sculptural series La Chambre, 2010-2012, beautifully illuminates the integral relationship of art and the technology that makes it possible. Visitors to Truck Contemporary Gallery in Calgary where the works are being exhibited were confronted with walls lined with larger-than-life prints of colourful geometric shapes. These forms seem at once familiar in shape, but also alien due to the strange matte texture and bright pops of colour. Lessard-L’s series is visually stunning and initially elusive, thus drawing the viewer in for a closer look. Upon further inspection it becomes evident that the photos have captured the images of casts of the inner chambers of popular cameras from previous decades.
The strange physicality and unnatural colours of the silicone casts emphasize the wonder of the photographic process. In making visible the interior machinery of these devices one would assume that it would make the process more comprehensible, but it ironically remains just as elusive, if not more so.
There is a poetic self-referentiality to these works. The casts take shape within the camera in the same chambers where light is transformed into a photographic image. Lessard-L’s process makes physical the transformation chambers of the camera, putting the device and its process through a materialization of itself.  As Luba Diduch writes in an essay on this body of work “Lessard’s intention is to create an homage to an important space that, she says, is shrinking over time due to developments in technology.”
- Emily Cluett

Processing the Process

Jacinthe Lessard-L’s photographic and sculptural series La Chambre, 2010-2012, beautifully illuminates the integral relationship of art and the technology that makes it possible. Visitors to Truck Contemporary Gallery in Calgary where the works are being exhibited were confronted with walls lined with larger-than-life prints of colourful geometric shapes. These forms seem at once familiar in shape, but also alien due to the strange matte texture and bright pops of colour. Lessard-L’s series is visually stunning and initially elusive, thus drawing the viewer in for a closer look. Upon further inspection it becomes evident that the photos have captured the images of casts of the inner chambers of popular cameras from previous decades.

The strange physicality and unnatural colours of the silicone casts emphasize the wonder of the photographic process. In making visible the interior machinery of these devices one would assume that it would make the process more comprehensible, but it ironically remains just as elusive, if not more so.

There is a poetic self-referentiality to these works. The casts take shape within the camera in the same chambers where light is transformed into a photographic image. Lessard-L’s process makes physical the transformation chambers of the camera, putting the device and its process through a materialization of itself.  As Luba Diduch writes in an essay on this body of work “Lessard’s intention is to create an homage to an important space that, she says, is shrinking over time due to developments in technology.”

- Emily Cluett

3 Photos
/ photography camera sculpture Calgary
Plastic Bottles: The New Artistic Medium
Recycling has never been more fun!
Cubify and Coco-Cola have, respectfully, come up with innovative ways to cut waste through simple engineering. The soft drink company has created ‘caps’ with multi-functions to be placed over used plastic bottles, such as a water gun, sponge-brush for painting, sauce nozzle, and so much more!
Cubify on the other hand, has created a 3D printer, the Ekocycle Printer, that also uses plastic bottles, but in this case, as the printing material. One filament contains materials from three plastic bottles.
Unfortunately, the 3D printer is somewhat of a designer product, and the filaments are only available in black, red, white and natural, with the supposed intention of making your own accessories like jewelry or phone cases. The printer does though, come with Wi-Fi and Bluetooth, so you can upload your design to any device. The idea is innovative and hopefully using plastic bottles to make useful objects will catch on with other major 3D printing companies.
There are however more grassroots organizations and individuals who use plastic waste in their 3D printing. Michigan Technological University’s Joshua Pearce is able to use milk jugs as filament for his 3D printer with the help of his RecycleBots. 
There was even a Kickstarter campaign to create the Filabot, which not only uses plastic bottles, but other plastic products as the printing filament.
If you prefer a more ‘designer’ aesthetic to your plastic recycling 3D printer, Cubify will be selling the Ekocycle Printers later this year.
-Anna Paluch

Plastic Bottles: The New Artistic Medium

Recycling has never been more fun!

Cubify and Coco-Cola have, respectfully, come up with innovative ways to cut waste through simple engineering. The soft drink company has created ‘caps’ with multi-functions to be placed over used plastic bottles, such as a water gun, sponge-brush for painting, sauce nozzle, and so much more!

Cubify on the other hand, has created a 3D printer, the Ekocycle Printer, that also uses plastic bottles, but in this case, as the printing material. One filament contains materials from three plastic bottles.

Unfortunately, the 3D printer is somewhat of a designer product, and the filaments are only available in black, red, white and natural, with the supposed intention of making your own accessories like jewelry or phone cases. The printer does though, come with Wi-Fi and Bluetooth, so you can upload your design to any device. The idea is innovative and hopefully using plastic bottles to make useful objects will catch on with other major 3D printing companies.

There are however more grassroots organizations and individuals who use plastic waste in their 3D printing. Michigan Technological University’s Joshua Pearce is able to use milk jugs as filament for his 3D printer with the help of his RecycleBots. 

There was even a Kickstarter campaign to create the Filabot, which not only uses plastic bottles, but other plastic products as the printing filament.

If you prefer a more ‘designer’ aesthetic to your plastic recycling 3D printer, Cubify will be selling the Ekocycle Printers later this year.

-Anna Paluch

(Source: artandsciencejournal.com)

3D Printing plastic recycle Cubify Ekocycle Coca-Cola Environment Joshua Pearce RecycleBot Filabot anna paluch art science art and science journal
Food For Thought: Art is Good For Your Brain!
A recent study by University Hospital Erlangen in Germany suggests that, other than relieving stress, coming into contact with art specifically by making art works or crafts, can create “a significant improvement in psychological resilience”. This is due to the excessive use of motor and cognitive processing in the brain, stimulating it. Such discoveries are beneficial especially to the elderly, as creating art keeps the brain healthy, which could help slow down the onslaught of memory loss. You can read more on the findings here.
Science, engineering and all other typically ‘non-artsy’ fields have artistic elements about them; in fact, mathematical equations, DNA and even microbiological elements can be seen as works of art all on their own, serving both aesthetic and educational purposes. Even bacteria, manipulated by scientists such as Eshel Ben-Jacob, can create psychedelic patterns based on natural formations due to change in temperature or environment. The results are truly groovy.
A certain amount of creativity and a sense of design were definitely needed to create “inFORM”, an invention from MIT which allows users to interact with objects through a screen (yes, the digital kind). This invention is capable of rendering 3D objects physically, allowing users to interact with each other no matter how far away they are.
Not only can our artistic side create new inventions or help us see the scientific world in a different light, but art can help keep the brain active and healthy for many decades, or in the case of Hal Lasko, almost a century. The 99 year old, who passed away this year, worked as a typographer in his youth, making fonts by hand. After becoming partially blind in his senior years, Lasko turned to digital mediums such as Microsoft Paint, creating over 150 digital pieces.
Art it seems is a lot more beneficial to us than merely another creative outlet and stress-reliever, and we have science to thank for reaching that conclusion!
-Anna Paluch
Food For Thought: Art is Good For Your Brain!
A recent study by University Hospital Erlangen in Germany suggests that, other than relieving stress, coming into contact with art specifically by making art works or crafts, can create “a significant improvement in psychological resilience”. This is due to the excessive use of motor and cognitive processing in the brain, stimulating it. Such discoveries are beneficial especially to the elderly, as creating art keeps the brain healthy, which could help slow down the onslaught of memory loss. You can read more on the findings here.
Science, engineering and all other typically ‘non-artsy’ fields have artistic elements about them; in fact, mathematical equations, DNA and even microbiological elements can be seen as works of art all on their own, serving both aesthetic and educational purposes. Even bacteria, manipulated by scientists such as Eshel Ben-Jacob, can create psychedelic patterns based on natural formations due to change in temperature or environment. The results are truly groovy.
A certain amount of creativity and a sense of design were definitely needed to create “inFORM”, an invention from MIT which allows users to interact with objects through a screen (yes, the digital kind). This invention is capable of rendering 3D objects physically, allowing users to interact with each other no matter how far away they are.
Not only can our artistic side create new inventions or help us see the scientific world in a different light, but art can help keep the brain active and healthy for many decades, or in the case of Hal Lasko, almost a century. The 99 year old, who passed away this year, worked as a typographer in his youth, making fonts by hand. After becoming partially blind in his senior years, Lasko turned to digital mediums such as Microsoft Paint, creating over 150 digital pieces.
Art it seems is a lot more beneficial to us than merely another creative outlet and stress-reliever, and we have science to thank for reaching that conclusion!
-Anna Paluch
Food For Thought: Art is Good For Your Brain!
A recent study by University Hospital Erlangen in Germany suggests that, other than relieving stress, coming into contact with art specifically by making art works or crafts, can create “a significant improvement in psychological resilience”. This is due to the excessive use of motor and cognitive processing in the brain, stimulating it. Such discoveries are beneficial especially to the elderly, as creating art keeps the brain healthy, which could help slow down the onslaught of memory loss. You can read more on the findings here.
Science, engineering and all other typically ‘non-artsy’ fields have artistic elements about them; in fact, mathematical equations, DNA and even microbiological elements can be seen as works of art all on their own, serving both aesthetic and educational purposes. Even bacteria, manipulated by scientists such as Eshel Ben-Jacob, can create psychedelic patterns based on natural formations due to change in temperature or environment. The results are truly groovy.
A certain amount of creativity and a sense of design were definitely needed to create “inFORM”, an invention from MIT which allows users to interact with objects through a screen (yes, the digital kind). This invention is capable of rendering 3D objects physically, allowing users to interact with each other no matter how far away they are.
Not only can our artistic side create new inventions or help us see the scientific world in a different light, but art can help keep the brain active and healthy for many decades, or in the case of Hal Lasko, almost a century. The 99 year old, who passed away this year, worked as a typographer in his youth, making fonts by hand. After becoming partially blind in his senior years, Lasko turned to digital mediums such as Microsoft Paint, creating over 150 digital pieces.
Art it seems is a lot more beneficial to us than merely another creative outlet and stress-reliever, and we have science to thank for reaching that conclusion!
-Anna Paluch

Food For Thought: Art is Good For Your Brain!

A recent study by University Hospital Erlangen in Germany suggests that, other than relieving stress, coming into contact with art specifically by making art works or crafts, can create “a significant improvement in psychological resilience”. This is due to the excessive use of motor and cognitive processing in the brain, stimulating it. Such discoveries are beneficial especially to the elderly, as creating art keeps the brain healthy, which could help slow down the onslaught of memory loss. You can read more on the findings here.

Science, engineering and all other typically ‘non-artsy’ fields have artistic elements about them; in fact, mathematical equations, DNA and even microbiological elements can be seen as works of art all on their own, serving both aesthetic and educational purposes. Even bacteria, manipulated by scientists such as Eshel Ben-Jacob, can create psychedelic patterns based on natural formations due to change in temperature or environment. The results are truly groovy.

A certain amount of creativity and a sense of design were definitely needed to create “inFORM”, an invention from MIT which allows users to interact with objects through a screen (yes, the digital kind). This invention is capable of rendering 3D objects physically, allowing users to interact with each other no matter how far away they are.

Not only can our artistic side create new inventions or help us see the scientific world in a different light, but art can help keep the brain active and healthy for many decades, or in the case of Hal Lasko, almost a century. The 99 year old, who passed away this year, worked as a typographer in his youth, making fonts by hand. After becoming partially blind in his senior years, Lasko turned to digital mediums such as Microsoft Paint, creating over 150 digital pieces.

Art it seems is a lot more beneficial to us than merely another creative outlet and stress-reliever, and we have science to thank for reaching that conclusion!

-Anna Paluch

3 Photos
/ University of Erlangen art stree brain health memory elderly Eshel Ben-Jacob bacteria inFORM MIT tehcnology engineering science Hal Lasko digital art digital painting anna paluch art and science journal
Recycling New Technologies
When the term ‘computer art’ is thrown around, it is safe to assume that some people automatically think about art that is created using digital mediums.
But what about ‘computer art’ as art that is made, literally, from parts of a computer?
Multimedia artist Leonard Ulian takes inspiration from traditional artistic practices such as sand mandalas and book binding, and combines this inspiration with various electrical components, computer parts and copper wire. Mimicking two time consuming traditional practices, Ulian’s work can be interpreted as creating a network between traditional and contemporary, or in the case of the mandalas specifically, comparing spiritual and ritualistic representations of the universe with the artist’s own fascination in how systems can be applied to the process of art making.
Similarly, mixed-media artist Anna Dabrowska, better known as Finnabair, takes inspiration from a Victorian-era style of art to create her ‘steampunk’ collages using found objects such as computer parts. The artist herself describe her practice as “industrial art, cyberpunk art, or artistic upcycling”, taking modern technologies that have been deemed obsolete, thrown out, and applying them to traditional art practices.
-Anna Paluch
Recycling New Technologies
When the term ‘computer art’ is thrown around, it is safe to assume that some people automatically think about art that is created using digital mediums.
But what about ‘computer art’ as art that is made, literally, from parts of a computer?
Multimedia artist Leonard Ulian takes inspiration from traditional artistic practices such as sand mandalas and book binding, and combines this inspiration with various electrical components, computer parts and copper wire. Mimicking two time consuming traditional practices, Ulian’s work can be interpreted as creating a network between traditional and contemporary, or in the case of the mandalas specifically, comparing spiritual and ritualistic representations of the universe with the artist’s own fascination in how systems can be applied to the process of art making.
Similarly, mixed-media artist Anna Dabrowska, better known as Finnabair, takes inspiration from a Victorian-era style of art to create her ‘steampunk’ collages using found objects such as computer parts. The artist herself describe her practice as “industrial art, cyberpunk art, or artistic upcycling”, taking modern technologies that have been deemed obsolete, thrown out, and applying them to traditional art practices.
-Anna Paluch
Recycling New Technologies
When the term ‘computer art’ is thrown around, it is safe to assume that some people automatically think about art that is created using digital mediums.
But what about ‘computer art’ as art that is made, literally, from parts of a computer?
Multimedia artist Leonard Ulian takes inspiration from traditional artistic practices such as sand mandalas and book binding, and combines this inspiration with various electrical components, computer parts and copper wire. Mimicking two time consuming traditional practices, Ulian’s work can be interpreted as creating a network between traditional and contemporary, or in the case of the mandalas specifically, comparing spiritual and ritualistic representations of the universe with the artist’s own fascination in how systems can be applied to the process of art making.
Similarly, mixed-media artist Anna Dabrowska, better known as Finnabair, takes inspiration from a Victorian-era style of art to create her ‘steampunk’ collages using found objects such as computer parts. The artist herself describe her practice as “industrial art, cyberpunk art, or artistic upcycling”, taking modern technologies that have been deemed obsolete, thrown out, and applying them to traditional art practices.
-Anna Paluch
Recycling New Technologies
When the term ‘computer art’ is thrown around, it is safe to assume that some people automatically think about art that is created using digital mediums.
But what about ‘computer art’ as art that is made, literally, from parts of a computer?
Multimedia artist Leonard Ulian takes inspiration from traditional artistic practices such as sand mandalas and book binding, and combines this inspiration with various electrical components, computer parts and copper wire. Mimicking two time consuming traditional practices, Ulian’s work can be interpreted as creating a network between traditional and contemporary, or in the case of the mandalas specifically, comparing spiritual and ritualistic representations of the universe with the artist’s own fascination in how systems can be applied to the process of art making.
Similarly, mixed-media artist Anna Dabrowska, better known as Finnabair, takes inspiration from a Victorian-era style of art to create her ‘steampunk’ collages using found objects such as computer parts. The artist herself describe her practice as “industrial art, cyberpunk art, or artistic upcycling”, taking modern technologies that have been deemed obsolete, thrown out, and applying them to traditional art practices.
-Anna Paluch

Recycling New Technologies

When the term ‘computer art’ is thrown around, it is safe to assume that some people automatically think about art that is created using digital mediums.

But what about ‘computer art’ as art that is made, literally, from parts of a computer?

Multimedia artist Leonard Ulian takes inspiration from traditional artistic practices such as sand mandalas and book binding, and combines this inspiration with various electrical components, computer parts and copper wire. Mimicking two time consuming traditional practices, Ulian’s work can be interpreted as creating a network between traditional and contemporary, or in the case of the mandalas specifically, comparing spiritual and ritualistic representations of the universe with the artist’s own fascination in how systems can be applied to the process of art making.

Similarly, mixed-media artist Anna Dabrowska, better known as Finnabair, takes inspiration from a Victorian-era style of art to create her ‘steampunk’ collages using found objects such as computer parts. The artist herself describe her practice as “industrial art, cyberpunk art, or artistic upcycling”, taking modern technologies that have been deemed obsolete, thrown out, and applying them to traditional art practices.

-Anna Paluch

(Source: artandsciencejournal.com)

4 Photos
/ Leonard Ulian Finnabair Anna Dabrowska computer art recycle art technology art science mandala book binding steampunk upcycling art and science journal

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