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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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Seismic Activities
Continuing the topic of last week’s post on earthquake inspired art, this post will highlight two more artists whose works are inspired by fault lines and our Earth’s movements.
Juan Geuer was an artist whose works resulted from a harmonious blend of art and science. The artists’ most well-known piece is “Al Asnaam” (1979), which permanently resides at the Ottawa Art Gallery.
The piece includes a highly sensitive horizontal pendulum, which reacts to movements on the Earth’s surface, later translating those movements through a laser-light which pierces the space to project itself onto the opposing wall. The room in which the piece resides becomes part of the installation, and the people walking around the piece inside the room help create very minute ‘earthquakes’ with every step they take; or what the piece reads as earthquakes. It is known as a “people participating seismometer”, which in turn helps audiences become aware of the effect that our daily movements have on the Earth’s surface.
Ken Goldberg is a professor and artist whose collaborative work “Bloom” (2013) utilizes his geographic location, almost a kilometre and a half away from California’s Hayward Fault line, to create an “Internet-based earthwork”. This work tracks the low-level movements of the fault line, showing that even when there is no massive quake, the ground below us is constantly moving, pulling different ways, and grumbling away unnoticed. The webpage that supports this work, broadcasts these movements live, translating them into bursts of vibrant colours.
The works of these two artists, help us to understand both how we impact our own Earth’s movements, and just how unpredictable those movements can be.
-Anna Paluch
Seismic Activities
Continuing the topic of last week’s post on earthquake inspired art, this post will highlight two more artists whose works are inspired by fault lines and our Earth’s movements.
Juan Geuer was an artist whose works resulted from a harmonious blend of art and science. The artists’ most well-known piece is “Al Asnaam” (1979), which permanently resides at the Ottawa Art Gallery.
The piece includes a highly sensitive horizontal pendulum, which reacts to movements on the Earth’s surface, later translating those movements through a laser-light which pierces the space to project itself onto the opposing wall. The room in which the piece resides becomes part of the installation, and the people walking around the piece inside the room help create very minute ‘earthquakes’ with every step they take; or what the piece reads as earthquakes. It is known as a “people participating seismometer”, which in turn helps audiences become aware of the effect that our daily movements have on the Earth’s surface.
Ken Goldberg is a professor and artist whose collaborative work “Bloom” (2013) utilizes his geographic location, almost a kilometre and a half away from California’s Hayward Fault line, to create an “Internet-based earthwork”. This work tracks the low-level movements of the fault line, showing that even when there is no massive quake, the ground below us is constantly moving, pulling different ways, and grumbling away unnoticed. The webpage that supports this work, broadcasts these movements live, translating them into bursts of vibrant colours.
The works of these two artists, help us to understand both how we impact our own Earth’s movements, and just how unpredictable those movements can be.
-Anna Paluch
Seismic Activities
Continuing the topic of last week’s post on earthquake inspired art, this post will highlight two more artists whose works are inspired by fault lines and our Earth’s movements.
Juan Geuer was an artist whose works resulted from a harmonious blend of art and science. The artists’ most well-known piece is “Al Asnaam” (1979), which permanently resides at the Ottawa Art Gallery.
The piece includes a highly sensitive horizontal pendulum, which reacts to movements on the Earth’s surface, later translating those movements through a laser-light which pierces the space to project itself onto the opposing wall. The room in which the piece resides becomes part of the installation, and the people walking around the piece inside the room help create very minute ‘earthquakes’ with every step they take; or what the piece reads as earthquakes. It is known as a “people participating seismometer”, which in turn helps audiences become aware of the effect that our daily movements have on the Earth’s surface.
Ken Goldberg is a professor and artist whose collaborative work “Bloom” (2013) utilizes his geographic location, almost a kilometre and a half away from California’s Hayward Fault line, to create an “Internet-based earthwork”. This work tracks the low-level movements of the fault line, showing that even when there is no massive quake, the ground below us is constantly moving, pulling different ways, and grumbling away unnoticed. The webpage that supports this work, broadcasts these movements live, translating them into bursts of vibrant colours.
The works of these two artists, help us to understand both how we impact our own Earth’s movements, and just how unpredictable those movements can be.
-Anna Paluch

Seismic Activities

Continuing the topic of last week’s post on earthquake inspired art, this post will highlight two more artists whose works are inspired by fault lines and our Earth’s movements.

Juan Geuer was an artist whose works resulted from a harmonious blend of art and science. The artists’ most well-known piece is “Al Asnaam” (1979), which permanently resides at the Ottawa Art Gallery.

The piece includes a highly sensitive horizontal pendulum, which reacts to movements on the Earth’s surface, later translating those movements through a laser-light which pierces the space to project itself onto the opposing wall. The room in which the piece resides becomes part of the installation, and the people walking around the piece inside the room help create very minute ‘earthquakes’ with every step they take; or what the piece reads as earthquakes. It is known as a “people participating seismometer”, which in turn helps audiences become aware of the effect that our daily movements have on the Earth’s surface.

Ken Goldberg is a professor and artist whose collaborative work “Bloom” (2013) utilizes his geographic location, almost a kilometre and a half away from California’s Hayward Fault line, to create an “Internet-based earthwork”. This work tracks the low-level movements of the fault line, showing that even when there is no massive quake, the ground below us is constantly moving, pulling different ways, and grumbling away unnoticed. The webpage that supports this work, broadcasts these movements live, translating them into bursts of vibrant colours.

The works of these two artists, help us to understand both how we impact our own Earth’s movements, and just how unpredictable those movements can be.

-Anna Paluch

(Source: artandsciencejournal.com)

3 Photos
/ juan geuer ken goldberg earthquake seismic activity Earth art science art and science journal anna paluch Ottawa Art Gallery

As artist Leo Selvaggio attests to in his video above, privacy is becoming a precious commodity. With the ever-increasing prevalence of technology and mobile devices, it’s difficult to maintain a low profile. Many of our actions, both online and out and about, are being recorded and surveilled, either on a camera or by virtually tracking our positions via mobile devices. This has driven Selvaggio to create a work of art and a hacking device that allows for its wearer to walk about undetected by the cameras that surveil them - URME Surveillance. Pronounced “you-are-me”, this device is a 3-D printed rubber mask manufactured by ThatsMyFace.com. The level of rendering is realistic enough to fool the facial recognition software, so that every person wearing the mask is recognized as Leo Selvaggio, not themselves.

Selvaggio has been living and working in Chicago, stating in his video that it is the most surveilled city in America - with over 25,000 cameras rigged with military-grade facial recognition software, it’s easy to see why Selvaggio would want to create some sort of bypass for those who would rather not be monitored. Instead of hiding the public’s face, Selvaggio is giving them a new one, “protecting the public from surveillance and creating a safe space to explore our digital identities.”

Aside from the rubber mask, URME Surveillance has two other products available to users: a paper mask, best worn in large groups, and a video encryption software that places Selvaggio’s face over those that appear in the video. Selvaggio is aware of the less savory activities that these masks could be used for, but insists that URME Surveillance is an “organized artistic intervention”, driven by a desire to allow an individual the ability to “assert themselves in a public space”. As such, it is expected that these devices are used responsibly by those who choose to wear them. 

To learn more about URME Surveillance or support its Indiegogo campaign, click here.

- Lea Hamilton 

(source)

URME SurveillanceLeo Selvaggioarthackingmask3d printingtechnologysurveillanceartandsciencejournalLea Hamilton
Art as Aftershock
Earthquakes are dangerous phenomena, yet two artists chose to present these natural disasters, in a way that makes viewers contemplate, rather than fear them.
Luke Jerram and Carlos Amorales created works that comment on the 2011 Japanese Tōhoku earthquake and tsunami, and 1985 earthquake in Mexico City, respectively. Their works allow viewers to contemplate the nature of earthquakes with the help of visualizations through seismographic data.
In Jerram’s piece, the artist took the seismographic data from the Tōhoku earthquake, and rotated it using a computer program to see the data in three-dimensions, later printing it in those dimensions. The sculpture, made in 2011, represents nine minutes of the earthquake, allowing viewers to calculate, and imagine, the severity of the disaster on their own.
Amorales approaches the 1985 earthquake in a more theoretical presentation, in “Vertical Earthquake” (2010). Rather than using data, the artist creates his own fault lines and cracks on the walls, drawing epicentres around each. The artist chose to capture the chaos and emotion of the event. Within the installation, newspaper clippings of the disaster are displayed, with fault lines drawn on them as well. 
Where Jerram uses data to help visualize the severity of the earthquake in Japan, Morales plays with drama and emotion, creating a fragmented image which symbolically reflects the earthquake that he witnessed. Both pieces however, are sobering reminders of the immense power our Earth has over man-made constructions.
-Anna Paluch
Art as Aftershock
Earthquakes are dangerous phenomena, yet two artists chose to present these natural disasters, in a way that makes viewers contemplate, rather than fear them.
Luke Jerram and Carlos Amorales created works that comment on the 2011 Japanese Tōhoku earthquake and tsunami, and 1985 earthquake in Mexico City, respectively. Their works allow viewers to contemplate the nature of earthquakes with the help of visualizations through seismographic data.
In Jerram’s piece, the artist took the seismographic data from the Tōhoku earthquake, and rotated it using a computer program to see the data in three-dimensions, later printing it in those dimensions. The sculpture, made in 2011, represents nine minutes of the earthquake, allowing viewers to calculate, and imagine, the severity of the disaster on their own.
Amorales approaches the 1985 earthquake in a more theoretical presentation, in “Vertical Earthquake” (2010). Rather than using data, the artist creates his own fault lines and cracks on the walls, drawing epicentres around each. The artist chose to capture the chaos and emotion of the event. Within the installation, newspaper clippings of the disaster are displayed, with fault lines drawn on them as well. 
Where Jerram uses data to help visualize the severity of the earthquake in Japan, Morales plays with drama and emotion, creating a fragmented image which symbolically reflects the earthquake that he witnessed. Both pieces however, are sobering reminders of the immense power our Earth has over man-made constructions.
-Anna Paluch
Art as Aftershock
Earthquakes are dangerous phenomena, yet two artists chose to present these natural disasters, in a way that makes viewers contemplate, rather than fear them.
Luke Jerram and Carlos Amorales created works that comment on the 2011 Japanese Tōhoku earthquake and tsunami, and 1985 earthquake in Mexico City, respectively. Their works allow viewers to contemplate the nature of earthquakes with the help of visualizations through seismographic data.
In Jerram’s piece, the artist took the seismographic data from the Tōhoku earthquake, and rotated it using a computer program to see the data in three-dimensions, later printing it in those dimensions. The sculpture, made in 2011, represents nine minutes of the earthquake, allowing viewers to calculate, and imagine, the severity of the disaster on their own.
Amorales approaches the 1985 earthquake in a more theoretical presentation, in “Vertical Earthquake” (2010). Rather than using data, the artist creates his own fault lines and cracks on the walls, drawing epicentres around each. The artist chose to capture the chaos and emotion of the event. Within the installation, newspaper clippings of the disaster are displayed, with fault lines drawn on them as well. 
Where Jerram uses data to help visualize the severity of the earthquake in Japan, Morales plays with drama and emotion, creating a fragmented image which symbolically reflects the earthquake that he witnessed. Both pieces however, are sobering reminders of the immense power our Earth has over man-made constructions.
-Anna Paluch
Art as Aftershock
Earthquakes are dangerous phenomena, yet two artists chose to present these natural disasters, in a way that makes viewers contemplate, rather than fear them.
Luke Jerram and Carlos Amorales created works that comment on the 2011 Japanese Tōhoku earthquake and tsunami, and 1985 earthquake in Mexico City, respectively. Their works allow viewers to contemplate the nature of earthquakes with the help of visualizations through seismographic data.
In Jerram’s piece, the artist took the seismographic data from the Tōhoku earthquake, and rotated it using a computer program to see the data in three-dimensions, later printing it in those dimensions. The sculpture, made in 2011, represents nine minutes of the earthquake, allowing viewers to calculate, and imagine, the severity of the disaster on their own.
Amorales approaches the 1985 earthquake in a more theoretical presentation, in “Vertical Earthquake” (2010). Rather than using data, the artist creates his own fault lines and cracks on the walls, drawing epicentres around each. The artist chose to capture the chaos and emotion of the event. Within the installation, newspaper clippings of the disaster are displayed, with fault lines drawn on them as well. 
Where Jerram uses data to help visualize the severity of the earthquake in Japan, Morales plays with drama and emotion, creating a fragmented image which symbolically reflects the earthquake that he witnessed. Both pieces however, are sobering reminders of the immense power our Earth has over man-made constructions.
-Anna Paluch

Art as Aftershock

Earthquakes are dangerous phenomena, yet two artists chose to present these natural disasters, in a way that makes viewers contemplate, rather than fear them.

Luke Jerram and Carlos Amorales created works that comment on the 2011 Japanese Tōhoku earthquake and tsunami, and 1985 earthquake in Mexico City, respectively. Their works allow viewers to contemplate the nature of earthquakes with the help of visualizations through seismographic data.

In Jerram’s piece, the artist took the seismographic data from the Tōhoku earthquake, and rotated it using a computer program to see the data in three-dimensions, later printing it in those dimensions. The sculpture, made in 2011, represents nine minutes of the earthquake, allowing viewers to calculate, and imagine, the severity of the disaster on their own.

Amorales approaches the 1985 earthquake in a more theoretical presentation, in “Vertical Earthquake” (2010). Rather than using data, the artist creates his own fault lines and cracks on the walls, drawing epicentres around each. The artist chose to capture the chaos and emotion of the event. Within the installation, newspaper clippings of the disaster are displayed, with fault lines drawn on them as well.

Where Jerram uses data to help visualize the severity of the earthquake in Japan, Morales plays with drama and emotion, creating a fragmented image which symbolically reflects the earthquake that he witnessed. Both pieces however, are sobering reminders of the immense power our Earth has over man-made constructions.

-Anna Paluch

(Source: artandsciencejournal.com)

4 Photos
/ Luke Jerram Carlos Amorales anna paluch seismograph seismogam earthquake art science art and science journal sculpture installation Tohoko japan earthquake mexico city earthquake
Local Coverage - PUSH: The New Printmakers
Contemporary printmaking practices live in an in-between space. As a medium, it is caught between its history and its relevance as a mode of expression. Printmaking is often thought of as a dying art, sometimes involving complicated processes and machinery that are no longer being manufactured. But, the relevance of printmaking as an art form is still present, as is shown by a new printmaking exhibition being held at Studio Sixty Six in Ottawa.

PUSH: The New Printmakers brings together several artists specializing in different types of printmaking. The works are comprised of linocuts, screen printing, woodcuts and relief prints.The artists included in the show are Melissa Blackman, Delphine Sullivan, Dante Penman, Claudia Gutierrez, Tegan Alston, Stéphanie St-Jean Aubre and Kimberly Edgar, all graduates from the Ottawa School of Art. While all the works are tied together by their medium and their black and white palette, each artist’s oeuvre addresses different artistic preoccupations, ranging from issues of identity, the idea of the specimen, to the relationship between landmarks and memory. 

For those who are interested in checking out the show, it will be open until June 26th. Click here for more information.
If you are interested in seeing interviews with the artists and gallery owner, click here.
-Lea Hamilton
Local Coverage - PUSH: The New Printmakers
Contemporary printmaking practices live in an in-between space. As a medium, it is caught between its history and its relevance as a mode of expression. Printmaking is often thought of as a dying art, sometimes involving complicated processes and machinery that are no longer being manufactured. But, the relevance of printmaking as an art form is still present, as is shown by a new printmaking exhibition being held at Studio Sixty Six in Ottawa.

PUSH: The New Printmakers brings together several artists specializing in different types of printmaking. The works are comprised of linocuts, screen printing, woodcuts and relief prints.The artists included in the show are Melissa Blackman, Delphine Sullivan, Dante Penman, Claudia Gutierrez, Tegan Alston, Stéphanie St-Jean Aubre and Kimberly Edgar, all graduates from the Ottawa School of Art. While all the works are tied together by their medium and their black and white palette, each artist’s oeuvre addresses different artistic preoccupations, ranging from issues of identity, the idea of the specimen, to the relationship between landmarks and memory. 

For those who are interested in checking out the show, it will be open until June 26th. Click here for more information.
If you are interested in seeing interviews with the artists and gallery owner, click here.
-Lea Hamilton
Local Coverage - PUSH: The New Printmakers
Contemporary printmaking practices live in an in-between space. As a medium, it is caught between its history and its relevance as a mode of expression. Printmaking is often thought of as a dying art, sometimes involving complicated processes and machinery that are no longer being manufactured. But, the relevance of printmaking as an art form is still present, as is shown by a new printmaking exhibition being held at Studio Sixty Six in Ottawa.

PUSH: The New Printmakers brings together several artists specializing in different types of printmaking. The works are comprised of linocuts, screen printing, woodcuts and relief prints.The artists included in the show are Melissa Blackman, Delphine Sullivan, Dante Penman, Claudia Gutierrez, Tegan Alston, Stéphanie St-Jean Aubre and Kimberly Edgar, all graduates from the Ottawa School of Art. While all the works are tied together by their medium and their black and white palette, each artist’s oeuvre addresses different artistic preoccupations, ranging from issues of identity, the idea of the specimen, to the relationship between landmarks and memory. 

For those who are interested in checking out the show, it will be open until June 26th. Click here for more information.
If you are interested in seeing interviews with the artists and gallery owner, click here.
-Lea Hamilton
Local Coverage - PUSH: The New Printmakers
Contemporary printmaking practices live in an in-between space. As a medium, it is caught between its history and its relevance as a mode of expression. Printmaking is often thought of as a dying art, sometimes involving complicated processes and machinery that are no longer being manufactured. But, the relevance of printmaking as an art form is still present, as is shown by a new printmaking exhibition being held at Studio Sixty Six in Ottawa.

PUSH: The New Printmakers brings together several artists specializing in different types of printmaking. The works are comprised of linocuts, screen printing, woodcuts and relief prints.The artists included in the show are Melissa Blackman, Delphine Sullivan, Dante Penman, Claudia Gutierrez, Tegan Alston, Stéphanie St-Jean Aubre and Kimberly Edgar, all graduates from the Ottawa School of Art. While all the works are tied together by their medium and their black and white palette, each artist’s oeuvre addresses different artistic preoccupations, ranging from issues of identity, the idea of the specimen, to the relationship between landmarks and memory. 

For those who are interested in checking out the show, it will be open until June 26th. Click here for more information.
If you are interested in seeing interviews with the artists and gallery owner, click here.
-Lea Hamilton
Reimagined Ecosystems
Coral reefs come in many shapes, sizes and colours. Not only are they important to the oceans, but to the environment as a whole. Acting as the ‘rainforests of the sea’, coral reefs are home to a large array of diverse animals and plants, as well as being natural breakwaters which help to minimize the impact and damage from natural disasters such as cyclones. Coral reefs are not only beautiful, they are essentially life-sustaining, providing shelter for animals, which then feed people living near the reefs.
Artists that look to reefs for inspiration in their work include Courtney Mattison and Jane Ladan. 
In Mattison’s show Our Changing Seas III, the artist creates large scale ceramic coral reef sculptures, some white and some coloured, in order to show the effects that global warming has on the reefs. The vibrant reefs begin to be swallowed up by the bleached, dying reefs. The artist hopes that her work can influence others to act fast to protect the reefs while there is still time to save the living ones, and hopefully restore the bleached reefs to their once vibrant and life-sustaining selves. 
Jane Ladan works with the colours of these reefs to create her wearable art. The Mauritius-born artist, who is based in Ottawa, creates works that celebrate the rich colours and textures that are found in nature. She also uses Mauritius’ unique cultural blend, with influences coming from countries such as China and India, and its environment, mixing exotic flowers with undersea foliage, to help shape how she expresses herself creatively.
Where Mattison creates work to encourage preservation, Ladan creates work with a similar theme, in the sense that the beauty of her pieces should be seen as a reminder of the beauty of all natural things; in order to keep appreciating this beauty, we must do our part to help preserve it. 
-Anna Paluch
Reimagined Ecosystems
Coral reefs come in many shapes, sizes and colours. Not only are they important to the oceans, but to the environment as a whole. Acting as the ‘rainforests of the sea’, coral reefs are home to a large array of diverse animals and plants, as well as being natural breakwaters which help to minimize the impact and damage from natural disasters such as cyclones. Coral reefs are not only beautiful, they are essentially life-sustaining, providing shelter for animals, which then feed people living near the reefs.
Artists that look to reefs for inspiration in their work include Courtney Mattison and Jane Ladan. 
In Mattison’s show Our Changing Seas III, the artist creates large scale ceramic coral reef sculptures, some white and some coloured, in order to show the effects that global warming has on the reefs. The vibrant reefs begin to be swallowed up by the bleached, dying reefs. The artist hopes that her work can influence others to act fast to protect the reefs while there is still time to save the living ones, and hopefully restore the bleached reefs to their once vibrant and life-sustaining selves. 
Jane Ladan works with the colours of these reefs to create her wearable art. The Mauritius-born artist, who is based in Ottawa, creates works that celebrate the rich colours and textures that are found in nature. She also uses Mauritius’ unique cultural blend, with influences coming from countries such as China and India, and its environment, mixing exotic flowers with undersea foliage, to help shape how she expresses herself creatively.
Where Mattison creates work to encourage preservation, Ladan creates work with a similar theme, in the sense that the beauty of her pieces should be seen as a reminder of the beauty of all natural things; in order to keep appreciating this beauty, we must do our part to help preserve it. 
-Anna Paluch

Reimagined Ecosystems

Coral reefs come in many shapes, sizes and colours. Not only are they important to the oceans, but to the environment as a whole. Acting as the ‘rainforests of the sea’, coral reefs are home to a large array of diverse animals and plants, as well as being natural breakwaters which help to minimize the impact and damage from natural disasters such as cyclones. Coral reefs are not only beautiful, they are essentially life-sustaining, providing shelter for animals, which then feed people living near the reefs.

Artists that look to reefs for inspiration in their work include Courtney Mattison and Jane Ladan.

In Mattison’s show Our Changing Seas III, the artist creates large scale ceramic coral reef sculptures, some white and some coloured, in order to show the effects that global warming has on the reefs. The vibrant reefs begin to be swallowed up by the bleached, dying reefs. The artist hopes that her work can influence others to act fast to protect the reefs while there is still time to save the living ones, and hopefully restore the bleached reefs to their once vibrant and life-sustaining selves.

Jane Ladan works with the colours of these reefs to create her wearable art. The Mauritius-born artist, who is based in Ottawa, creates works that celebrate the rich colours and textures that are found in nature. She also uses Mauritius’ unique cultural blend, with influences coming from countries such as China and India, and its environment, mixing exotic flowers with undersea foliage, to help shape how she expresses herself creatively.

Where Mattison creates work to encourage preservation, Ladan creates work with a similar theme, in the sense that the beauty of her pieces should be seen as a reminder of the beauty of all natural things; in order to keep appreciating this beauty, we must do our part to help preserve it.

-Anna Paluch

(Source: artandsciencejournal.com)

2 Photos
/ jane ladan courtney mattison anna paluch coral reefs oceans nature art science art and science journal sculpture reefs sea seas ocean ecosystem Environment fashion conservation
Shadow Play
With the help of geometric sculptures, artist Fabrizio Corneli constructs intricate shadow-images. The artist plays with light and its reflective abilities to create human faces, animals and geometric patterns. It may seem like the artist’s work is made by simply cutting a stencil into a metal object, but the artist’s shadow pieces are actually made by placing specifically shaped, abstract metal objects on the projection surface, with the light bouncing off and through those objects, to cast shadows which mimic features such as eyes, mouths, or even a girl on a swing.
The end result is an intangible piece of art; yes, the sculptural elements are tangible, but the image, the actual focus of the piece cannot be touched without distorting it, nor can it be seen without the use of light.
With the help of mathematics, the artist is able to carefully position his abstract sculptures in a way that will optimally project the result of the light reflection. As the artist states, “light is energy which creates form”; all the artist has to do is create a vessel into which light can travel, and then step back, to allow the light itself to form its own work of art. Light not only reveals the shape, but also creates it.
The results are almost like non-images, as in, the shadows on the walls are residues of what should be there, or was there, or could be. The images create an environment of the anamorphosis, combining science and poetry, mathematics and art.

-Anna Paluch
Shadow Play
With the help of geometric sculptures, artist Fabrizio Corneli constructs intricate shadow-images. The artist plays with light and its reflective abilities to create human faces, animals and geometric patterns. It may seem like the artist’s work is made by simply cutting a stencil into a metal object, but the artist’s shadow pieces are actually made by placing specifically shaped, abstract metal objects on the projection surface, with the light bouncing off and through those objects, to cast shadows which mimic features such as eyes, mouths, or even a girl on a swing.
The end result is an intangible piece of art; yes, the sculptural elements are tangible, but the image, the actual focus of the piece cannot be touched without distorting it, nor can it be seen without the use of light.
With the help of mathematics, the artist is able to carefully position his abstract sculptures in a way that will optimally project the result of the light reflection. As the artist states, “light is energy which creates form”; all the artist has to do is create a vessel into which light can travel, and then step back, to allow the light itself to form its own work of art. Light not only reveals the shape, but also creates it.
The results are almost like non-images, as in, the shadows on the walls are residues of what should be there, or was there, or could be. The images create an environment of the anamorphosis, combining science and poetry, mathematics and art.

-Anna Paluch

Shadow Play

With the help of geometric sculptures, artist Fabrizio Corneli constructs intricate shadow-images. The artist plays with light and its reflective abilities to create human faces, animals and geometric patterns. It may seem like the artist’s work is made by simply cutting a stencil into a metal object, but the artist’s shadow pieces are actually made by placing specifically shaped, abstract metal objects on the projection surface, with the light bouncing off and through those objects, to cast shadows which mimic features such as eyes, mouths, or even a girl on a swing.

The end result is an intangible piece of art; yes, the sculptural elements are tangible, but the image, the actual focus of the piece cannot be touched without distorting it, nor can it be seen without the use of light.

With the help of mathematics, the artist is able to carefully position his abstract sculptures in a way that will optimally project the result of the light reflection. As the artist states, “light is energy which creates form”; all the artist has to do is create a vessel into which light can travel, and then step back, to allow the light itself to form its own work of art. Light not only reveals the shape, but also creates it.

The results are almost like non-images, as in, the shadows on the walls are residues of what should be there, or was there, or could be. The images create an environment of the anamorphosis, combining science and poetry, mathematics and art.

-Anna Paluch

(Source: artandsciencejournal.com)

2 Photos
/ fabrizio corneli anna paluch optics light shadow sculpture art science art and science journal
The Art of Our Bodies
The intricacies of the human body are explored in The New Cruelty’s work, where the production company based in Brooklyn took photographs of the famous BODIES: The Exhibition.
These photographs both fascinate and repulse, but most importantly, like the exhibit, they educate viewers, allowing us to get a glimpse of how our bodies function. After the initial shock of seeing our insides so exposed, viewers begin to discover the great detail in our veins and the spectrum of colour found just in and around the heart. Our bodies present themselves as works of art, in this case, exhibited and then photographed.
The aim of BODIES: The Exhibition is to “[allow] visitors to see the human body’s inner beauty in educational and awe-inspiring ways”, with bodies and organs preserved using “a revolutionary process called polymer preservation, in which human tissue is permanently preserved using liquid silicone rubber.” Every aspect of the body is covered, allowing curious minds to see up close that which most of us never get to see. 
The exhibit, and especially the pictures taken by The New Cruelty, shows just how much a part of nature we are; our whole-body vein system looks strikingly similar to the veins seen on leaves, and our pulmonary veins and arteries (attached to the heart) look more like coral reefs than human organs.
-Anna Paluch
The Art of Our Bodies
The intricacies of the human body are explored in The New Cruelty’s work, where the production company based in Brooklyn took photographs of the famous BODIES: The Exhibition.
These photographs both fascinate and repulse, but most importantly, like the exhibit, they educate viewers, allowing us to get a glimpse of how our bodies function. After the initial shock of seeing our insides so exposed, viewers begin to discover the great detail in our veins and the spectrum of colour found just in and around the heart. Our bodies present themselves as works of art, in this case, exhibited and then photographed.
The aim of BODIES: The Exhibition is to “[allow] visitors to see the human body’s inner beauty in educational and awe-inspiring ways”, with bodies and organs preserved using “a revolutionary process called polymer preservation, in which human tissue is permanently preserved using liquid silicone rubber.” Every aspect of the body is covered, allowing curious minds to see up close that which most of us never get to see. 
The exhibit, and especially the pictures taken by The New Cruelty, shows just how much a part of nature we are; our whole-body vein system looks strikingly similar to the veins seen on leaves, and our pulmonary veins and arteries (attached to the heart) look more like coral reefs than human organs.
-Anna Paluch

The Art of Our Bodies

The intricacies of the human body are explored in The New Cruelty’s work, where the production company based in Brooklyn took photographs of the famous BODIES: The Exhibition.

These photographs both fascinate and repulse, but most importantly, like the exhibit, they educate viewers, allowing us to get a glimpse of how our bodies function. After the initial shock of seeing our insides so exposed, viewers begin to discover the great detail in our veins and the spectrum of colour found just in and around the heart. Our bodies present themselves as works of art, in this case, exhibited and then photographed.

The aim of BODIES: The Exhibition is to “[allow] visitors to see the human body’s inner beauty in educational and awe-inspiring ways”, with bodies and organs preserved using “a revolutionary process called polymer preservation, in which human tissue is permanently preserved using liquid silicone rubber.” Every aspect of the body is covered, allowing curious minds to see up close that which most of us never get to see.

The exhibit, and especially the pictures taken by The New Cruelty, shows just how much a part of nature we are; our whole-body vein system looks strikingly similar to the veins seen on leaves, and our pulmonary veins and arteries (attached to the heart) look more like coral reefs than human organs.

-Anna Paluch

(Source: artandsciencejournal.com)

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/ The New Cruelty James Bareham anna paluch BODIES: The Exhibition bodies anatomy body human body art science photography art and science journal
Taking A Closer Look: Photomicrography
Photography has been used for decades to capture the images that we see with our eyes, but, it can also help us to see things that we could never see with just the naked eye.
Photomicrographers are those who photograph the microscopic world around us. With the help of special cameras, we can now see cell nuclei or the intestines of fruit flies if we so wanted to. There are hundreds of photomicrographers in the world, each with their own unique specialization or style; like artists, they present to us their own interpretations of microscopic objects, using various techniques, such as two-photon excitation microscopy, which “provides distinct advantages for three-dimensional imaging”. This process is used for “imaging of living cells, especially within intact tissues such as brain slices, embryos, whole organs, and even entire animals”, making Dr. Paul Appleton’s pictures both studies of biological components of organisms, but also aesthetically, vibrant, geometric abstractions. 
Claudia Buttera creates similar pieces, most of them cells under stress, and frames them to be placed in a gallery setting, where both the science of the subject and aesthetic of the overall piece is appreciated for as a work of art. The muse is nature, the artist Buttera.
Nikola Rahme moves slightly further away from the subjects, revealing the actual features and body parts of wasps and beetles, instead of merely the puzzle pieces of their anatomy known as cells. Works such as Rahme’s help viewers put a ‘face’ to the cluster of shapes that the aforementioned photomicrographers capture.

-Anna Paluch
Taking A Closer Look: Photomicrography
Photography has been used for decades to capture the images that we see with our eyes, but, it can also help us to see things that we could never see with just the naked eye.
Photomicrographers are those who photograph the microscopic world around us. With the help of special cameras, we can now see cell nuclei or the intestines of fruit flies if we so wanted to. There are hundreds of photomicrographers in the world, each with their own unique specialization or style; like artists, they present to us their own interpretations of microscopic objects, using various techniques, such as two-photon excitation microscopy, which “provides distinct advantages for three-dimensional imaging”. This process is used for “imaging of living cells, especially within intact tissues such as brain slices, embryos, whole organs, and even entire animals”, making Dr. Paul Appleton’s pictures both studies of biological components of organisms, but also aesthetically, vibrant, geometric abstractions. 
Claudia Buttera creates similar pieces, most of them cells under stress, and frames them to be placed in a gallery setting, where both the science of the subject and aesthetic of the overall piece is appreciated for as a work of art. The muse is nature, the artist Buttera.
Nikola Rahme moves slightly further away from the subjects, revealing the actual features and body parts of wasps and beetles, instead of merely the puzzle pieces of their anatomy known as cells. Works such as Rahme’s help viewers put a ‘face’ to the cluster of shapes that the aforementioned photomicrographers capture.

-Anna Paluch
Taking A Closer Look: Photomicrography
Photography has been used for decades to capture the images that we see with our eyes, but, it can also help us to see things that we could never see with just the naked eye.
Photomicrographers are those who photograph the microscopic world around us. With the help of special cameras, we can now see cell nuclei or the intestines of fruit flies if we so wanted to. There are hundreds of photomicrographers in the world, each with their own unique specialization or style; like artists, they present to us their own interpretations of microscopic objects, using various techniques, such as two-photon excitation microscopy, which “provides distinct advantages for three-dimensional imaging”. This process is used for “imaging of living cells, especially within intact tissues such as brain slices, embryos, whole organs, and even entire animals”, making Dr. Paul Appleton’s pictures both studies of biological components of organisms, but also aesthetically, vibrant, geometric abstractions. 
Claudia Buttera creates similar pieces, most of them cells under stress, and frames them to be placed in a gallery setting, where both the science of the subject and aesthetic of the overall piece is appreciated for as a work of art. The muse is nature, the artist Buttera.
Nikola Rahme moves slightly further away from the subjects, revealing the actual features and body parts of wasps and beetles, instead of merely the puzzle pieces of their anatomy known as cells. Works such as Rahme’s help viewers put a ‘face’ to the cluster of shapes that the aforementioned photomicrographers capture.

-Anna Paluch

Taking A Closer Look: Photomicrography

Photography has been used for decades to capture the images that we see with our eyes, but, it can also help us to see things that we could never see with just the naked eye.

Photomicrographers are those who photograph the microscopic world around us. With the help of special cameras, we can now see cell nuclei or the intestines of fruit flies if we so wanted to. There are hundreds of photomicrographers in the world, each with their own unique specialization or style; like artists, they present to us their own interpretations of microscopic objects, using various techniques, such as two-photon excitation microscopy, which “provides distinct advantages for three-dimensional imaging”. This process is used for “imaging of living cells, especially within intact tissues such as brain slices, embryos, whole organs, and even entire animals”, making Dr. Paul Appleton’s pictures both studies of biological components of organisms, but also aesthetically, vibrant, geometric abstractions.

Claudia Buttera creates similar pieces, most of them cells under stress, and frames them to be placed in a gallery setting, where both the science of the subject and aesthetic of the overall piece is appreciated for as a work of art. The muse is nature, the artist Buttera.

Nikola Rahme moves slightly further away from the subjects, revealing the actual features and body parts of wasps and beetles, instead of merely the puzzle pieces of their anatomy known as cells. Works such as Rahme’s help viewers put a ‘face’ to the cluster of shapes that the aforementioned photomicrographers capture.

-Anna Paluch

(Source: artandsciencejournal.com)

3 Photos
/ photomicrography cells science biology Microscopy microbiology nuclei photography Dr. Paul Appleton Claudia Buttera Nikola Rahme anna paluch art art and science journal

Visualizing the Beauty of Mathematics

In the above video you can see an equation, the visualization or blueprint of the equation in motion, and then the tangible object it represents. This shows that our world can be defined and examined, merely by combining numbers, symbols and concepts.

For non-mathematicians (or maths enthusiasts), equations appear daunting, let alone even considered for any aesthetic qualities. The project “Beauty of Mathematics” by Yann Pineill & Nicolas Lefaucheux, take these equations, and animate them to show their true image; that these equations depict movement, describe snowflakes, or create a masterpiece of computer technology. Just like we read artworks, equations are also meant to be interpreted for their meaning, but not everyone is trained to read equations. The project reads the equations for us, translates them if you will, and we are then able to relate a series of numbers and symbols to objects in our daily lives.

It is a wonderful way to begin the process of getting others interested in becoming versed in the language of mathematics. For, “mathematics, rightly viewed, possesses not only truth, but supreme beauty — a beauty cold and austere, without the gorgeous trappings of painting or music.” - Bertrand Russell

-Anna Paluch

(Source: artandsciencejournal.com)

yann pineillnicholas lefaucheuxthe beauty of mathematicsmathsmathematicsequationsanna paluchartscienceart and science journal

Q&A With Geoffrey Harrison: An Interview with the Art and Science Journal

Geoffrey Harrison is a painter specializing in figuration and anatomy that has recently discussed his residencies in London with us. Check out the video above (password is geoff) and the interview below to see what he has to share:

Lea Hamilton: Could you elaborate on your experience at your residency(ies?) What was it like to work with those specimens? Did you feel the environment influenced your body of work in the creative process itself as well as the content?

Geoffrey Harrison: I had been going into the Pathology Museum at St Bart’s for a while to look at the specimens and draw. I’d been working with anatomical images since I had a show at the Art Workers’ Guild in 2010 which was called ‘in the midst of life’. It was a series of paintings of dead animals. It sounds pretty grim, but was actually all about beauty and life. In some of the paintings it wasn’t clear whether the animal was alive or dead, while in others, it was pretty clear. I think these more explicitly visceral images led me towards the work I produced for the Bloomsbury Festival in 2011, which was an installation of very large drawings of ‘intestinal’ loops. I happened to be introduced to some people from the museum a huge nineteenth century, three story high, purpose built hall with galleried walkways on two upper levels. Somehow it is hidden away up a shabby staircase in a corner of the hospital. The shelves are crammed with specimens and the atmosphere is fairly unique but I was quite familiar by then with human specimens as both my parents had been Medical Illustrators, so I felt quite at home. It was a nice place to draw and the environment retained a Victorian atmosphere, which may have influenced me.

The more I discovered about the specimens however - the human aspect; the who and why and where and so on, the less I was at ease. I was pleased about that though. I didn’t want to get blasé about seeing such challenging things and really felt that it was important to still have an emotional response to the specimens. Much of the forensic collection have particularly sad and violent backstories, which brought a lot of that emotional content. I think that has carried through to the work I am doing now, which although not entirely focused on gross anatomy and specimens.

Working in both institutions has been really interesting experience. At the Museum, it was mainly a place for me to go and sketch and draw inspiration from. It was about the space and the contents. I ended up producing a series of work which I showed there and which has since been shown in a few other places and is due to travel overseas this year. The experience at the RVC has been more immersive and about the people and processes in the college as well as the objects that tend to attract my attention. In addition to producing artwork, I am involved in funding applications, public engagement and art teaching.

LH: How long has the concept of autopoiesis influenced your work?

GH: I started working with this concept perhaps before I realised it. I had long been in the habit of reducing the images I worked with to singular entities, which I eventually described as islands or archipelagos. In this way I was approaching this idea of margins and boundaries around things. I became a bit preoccupied with this idea of where one things ends and another begins and started to think about body parts and processes in this way. I think the work on islands really led to this because even though visually the things I was painting, animals, chairs, they were all surrogates for the human body, and by extension, the individual as a separate entity, self sufficient and isolated.

Of course, we are an interdependent species. We may kid ourselves that we are self-sufficient, and independent but like the hermit crabs I studied, we are actually totally dependent on a community and a bunch of other creatures. I have a compulsion to delineate and isolate, while at the same time recognising that the world doesn’t really work like that. Things are intricately linked and don’t necessarily end in crisp lines. Margins are blurred and diffuse as the seashore where the water percolates through the sand. You can’t really separate the two if you look closely enough. I recognise this and yet I am still drawn to delineate and classify. Is this cognitive dissonance?

Anyway, I wanted to somehow illustrate this paradox and create images of things that appear feasible as whole enclosed systems, but that aren’t possible. While doing some drawings of intestinal looking organs that were complete loops, like Mobius strips I was looking at M. C. Escher and I came across a book called ‘I am a Strange Loop’ by Douglas Hofstadter. His work led me to the concept of Autopoiesis, which I thought was an ideal description for my work and liked that it was relevant to mathematics and biology as well as philosophy and sociology.

LH: Both of your residencies (at Bart’s Pathology Museum and The Royal Veterinary College) are sort of hidden and tucked away. Given your interest in isolation, is that partly what drew you towards these residencies, or was it more based on past experience with anatomy and medical illustration?

GH: I’m not sure that I consciously made an effort to find places to work that were hidden away, but perhaps that made more more interested in them. I think I was fortunate enough to be introduced to these places as a result of similar work before, which yea, is probably all down to the Medical Illustration thing. It seems to be one continuum. Perhaps it will all loop back to the beginning at the end.

LH: How do you personally view the anatomical collections that you work with? Do they lean more toward being curiosities, or do they present themselves as preserved, perpetual objects?

GH: That’s a really interesting question. The nature of the ‘curious’ must depend on the viewer. I don’t see the specimens themselves as curious. Interesting and fantastic in some cases, yes, but I’d think I was being lazy if I stopped at curious, like I was simply noting an odd shaped vegetable. Some of the medical and veterinary specimens that I spend my time with are still relevant in a practical educational sense, while others are pretty much redundant in the face of trends of disease or medical progress. For some people, however, preserved specimens of unusual afflictions are gonna have a kind of ‘fairground sideshow’ quality and will remain curiosities, but if that inspires people to look beyond the bizarre and freakish and contemplate the ‘science’, that’s great.

Pickling and even plastination fundamentally change the nature of the specimen, so they aren’t really preserved verbatim. They are altered and won’t last forever anyway.

LH: I find it interesting that you have such great interest in self-sustaining objects, but the actual anatomical specimens that you study need to be carefully preserved and sustained by others. Is this boundary between sustaining and preserving blurred or disrupted by your interaction with the objects and subsequent created artworks? Do they become ‘fresh’ again, or is the boundary even relevant?

GH: Perhaps I am casting a fresh eye on the subject, which might give someone an alternative perspective, but I also think that while the specimens stay immutable (and this is not always the case) a med student, for example, may look at it one day and see one thing and the next something completely different according to the page they are on in their textbook. There are many ways to refresh a perspective. I think this boundary is totally relevant. That’s an intriguing boundary there. The point at which the world changes when we understand something about it. Secrets divulged, innocence lost. Hmmm.

I’m not sure this answers the question but I got intrigued by the idea of ‘fresh again’ when I was studying cane toads that had been squashed by traffic on an island where I used to live. The flattened corpses used to desiccate in the heat, but whenever it would rain, the amphibian hydrophilic skin would rehydrate and they’d become fresh again. In the end though, they’d disintegrate to nothing. The objects in the jar are in a very gradual state of deterioration. I think the fact that they continually need maintenance and care belies their ultimate impermanence. Someone will forget to top them up, they’ll spring a leak or get dropped. They are only going one way. Mind you, there is a pretty healthy looking specimen in the Barts’ collection that dates from the 1700s, so the journey to dust is longer for some than others…

- Lea Hamilton

(Source: artandsciencejournal.com)

art and science journalinterviewLea HamiltonGeoffrey Harrisonresidencieslondonanatomypainting

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