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Cyber TraditionsContemporary Odawa artist Barry Ace works with tradition and technology, creating inter-connectivity between history, tradition, and innovation, using computer components to speak to both electronic and cultural connections specifically among the Anishinaabeg. The artists’ work incorporates the machine into the manmade; natural motifs share the artists’ space with digital materials to stimulate cultural and social connections in order to “map out a new Anishinaabeg cyber-territory”. The works of Ace, such as “Urban Bustle” (2013), “Bandolier” (2011), “Healing Dance 2” (2013) , “Nigik Makizinan – Otter Moccasins” (2014) and “Parallel Tasking” (2000) all incorporate culturally specific designs with that of found computer parts to create cross-cultural assemblages. Through the process of traditional craft, the artist is able to bring a tangible representation of digital imagery, and a contemporary aesthetic to floral motifs normally made with glass beads, which have been replaced with circuits, transistors, capacitors and resistors.
“Parallel Tasking” is a work comprising of a fully beaded vest with computer parts and a headdress representing the Great Lakes cultures. The computer parts on the back of the vest are juxtaposed with traditional beadwork on the front creating a metaphor, as the artist states, of “electronic paths that link us as Anishinaabeg in the urban landscape”. “Bandolier” also incorporates the traditional, and sacred, with a digital aesthetic, commenting on the tenacity of the Anishinaabeg of adapting “to rapid change while maintaining a distinct and unique sensibility, aesthetic and spirituality”. The digital age in fact, does not destroy tradition and culture, but allows for a new aesthetic. The heart of the work is still there, such as in the work “Urban Bustle”. A replica of a traditional Plains dance bustle worn by powwow dancers uses found objects, natural materials, a digital screen, glass beads, and electronic components, to name a few. What is specifically significant about this piece is that the screen portrays a black and white, silent archival film from the 1920’s (from Library and Archives Canada) of a powwow from Wikiwemikong on Manitoulin Island. There is a text attached to the work which reads “an unadulterated cultural expression on borrowed colonial media” which is a direct jab at the anthropological idea that those who still uphold traditional practices are somehow “tainted…unauthentic” when using technology. On the contrary, Barry Ace’s works prove there is no cultural erasure with technology. The only erasure referenced in any of these works, is in “Nigik Makizinan – Otter Moccasins” which reference traditional otter moccasins that had trail dusters attached to the heel to wipe away the wearers footprints. The artist’s contemporary take symbolises rather, the erasure of digital identity, bringing up issues of surveillance and the cyber trail we leave behind. The traditional in this work is used as a starting point to talk about contemporary issues. Finally, the work “Healing Dance 2” presents traditional medicinal plants and flowers with strong healing qualities, alongside energy retaining capacitors, showing correlation between two cultures. “Healing Dance 2” creates a bridge between traditional cultures and the digital one.
The artist’s work allows us to see beauty in the mechanical, and also think about cultural innovations; how we do not have to sacrifice our identity in order to be contemporary and innovative. Tradition and technology can coexist together, both helping the other to flourish in today’s digital age.
-Anna Paluch
Cyber TraditionsContemporary Odawa artist Barry Ace works with tradition and technology, creating inter-connectivity between history, tradition, and innovation, using computer components to speak to both electronic and cultural connections specifically among the Anishinaabeg. The artists’ work incorporates the machine into the manmade; natural motifs share the artists’ space with digital materials to stimulate cultural and social connections in order to “map out a new Anishinaabeg cyber-territory”. The works of Ace, such as “Urban Bustle” (2013), “Bandolier” (2011), “Healing Dance 2” (2013) , “Nigik Makizinan – Otter Moccasins” (2014) and “Parallel Tasking” (2000) all incorporate culturally specific designs with that of found computer parts to create cross-cultural assemblages. Through the process of traditional craft, the artist is able to bring a tangible representation of digital imagery, and a contemporary aesthetic to floral motifs normally made with glass beads, which have been replaced with circuits, transistors, capacitors and resistors.
“Parallel Tasking” is a work comprising of a fully beaded vest with computer parts and a headdress representing the Great Lakes cultures. The computer parts on the back of the vest are juxtaposed with traditional beadwork on the front creating a metaphor, as the artist states, of “electronic paths that link us as Anishinaabeg in the urban landscape”. “Bandolier” also incorporates the traditional, and sacred, with a digital aesthetic, commenting on the tenacity of the Anishinaabeg of adapting “to rapid change while maintaining a distinct and unique sensibility, aesthetic and spirituality”. The digital age in fact, does not destroy tradition and culture, but allows for a new aesthetic. The heart of the work is still there, such as in the work “Urban Bustle”. A replica of a traditional Plains dance bustle worn by powwow dancers uses found objects, natural materials, a digital screen, glass beads, and electronic components, to name a few. What is specifically significant about this piece is that the screen portrays a black and white, silent archival film from the 1920’s (from Library and Archives Canada) of a powwow from Wikiwemikong on Manitoulin Island. There is a text attached to the work which reads “an unadulterated cultural expression on borrowed colonial media” which is a direct jab at the anthropological idea that those who still uphold traditional practices are somehow “tainted…unauthentic” when using technology. On the contrary, Barry Ace’s works prove there is no cultural erasure with technology. The only erasure referenced in any of these works, is in “Nigik Makizinan – Otter Moccasins” which reference traditional otter moccasins that had trail dusters attached to the heel to wipe away the wearers footprints. The artist’s contemporary take symbolises rather, the erasure of digital identity, bringing up issues of surveillance and the cyber trail we leave behind. The traditional in this work is used as a starting point to talk about contemporary issues. Finally, the work “Healing Dance 2” presents traditional medicinal plants and flowers with strong healing qualities, alongside energy retaining capacitors, showing correlation between two cultures. “Healing Dance 2” creates a bridge between traditional cultures and the digital one.
The artist’s work allows us to see beauty in the mechanical, and also think about cultural innovations; how we do not have to sacrifice our identity in order to be contemporary and innovative. Tradition and technology can coexist together, both helping the other to flourish in today’s digital age.
-Anna Paluch
Cyber TraditionsContemporary Odawa artist Barry Ace works with tradition and technology, creating inter-connectivity between history, tradition, and innovation, using computer components to speak to both electronic and cultural connections specifically among the Anishinaabeg. The artists’ work incorporates the machine into the manmade; natural motifs share the artists’ space with digital materials to stimulate cultural and social connections in order to “map out a new Anishinaabeg cyber-territory”. The works of Ace, such as “Urban Bustle” (2013), “Bandolier” (2011), “Healing Dance 2” (2013) , “Nigik Makizinan – Otter Moccasins” (2014) and “Parallel Tasking” (2000) all incorporate culturally specific designs with that of found computer parts to create cross-cultural assemblages. Through the process of traditional craft, the artist is able to bring a tangible representation of digital imagery, and a contemporary aesthetic to floral motifs normally made with glass beads, which have been replaced with circuits, transistors, capacitors and resistors.
“Parallel Tasking” is a work comprising of a fully beaded vest with computer parts and a headdress representing the Great Lakes cultures. The computer parts on the back of the vest are juxtaposed with traditional beadwork on the front creating a metaphor, as the artist states, of “electronic paths that link us as Anishinaabeg in the urban landscape”. “Bandolier” also incorporates the traditional, and sacred, with a digital aesthetic, commenting on the tenacity of the Anishinaabeg of adapting “to rapid change while maintaining a distinct and unique sensibility, aesthetic and spirituality”. The digital age in fact, does not destroy tradition and culture, but allows for a new aesthetic. The heart of the work is still there, such as in the work “Urban Bustle”. A replica of a traditional Plains dance bustle worn by powwow dancers uses found objects, natural materials, a digital screen, glass beads, and electronic components, to name a few. What is specifically significant about this piece is that the screen portrays a black and white, silent archival film from the 1920’s (from Library and Archives Canada) of a powwow from Wikiwemikong on Manitoulin Island. There is a text attached to the work which reads “an unadulterated cultural expression on borrowed colonial media” which is a direct jab at the anthropological idea that those who still uphold traditional practices are somehow “tainted…unauthentic” when using technology. On the contrary, Barry Ace’s works prove there is no cultural erasure with technology. The only erasure referenced in any of these works, is in “Nigik Makizinan – Otter Moccasins” which reference traditional otter moccasins that had trail dusters attached to the heel to wipe away the wearers footprints. The artist’s contemporary take symbolises rather, the erasure of digital identity, bringing up issues of surveillance and the cyber trail we leave behind. The traditional in this work is used as a starting point to talk about contemporary issues. Finally, the work “Healing Dance 2” presents traditional medicinal plants and flowers with strong healing qualities, alongside energy retaining capacitors, showing correlation between two cultures. “Healing Dance 2” creates a bridge between traditional cultures and the digital one.
The artist’s work allows us to see beauty in the mechanical, and also think about cultural innovations; how we do not have to sacrifice our identity in order to be contemporary and innovative. Tradition and technology can coexist together, both helping the other to flourish in today’s digital age.
-Anna Paluch
Cyber TraditionsContemporary Odawa artist Barry Ace works with tradition and technology, creating inter-connectivity between history, tradition, and innovation, using computer components to speak to both electronic and cultural connections specifically among the Anishinaabeg. The artists’ work incorporates the machine into the manmade; natural motifs share the artists’ space with digital materials to stimulate cultural and social connections in order to “map out a new Anishinaabeg cyber-territory”. The works of Ace, such as “Urban Bustle” (2013), “Bandolier” (2011), “Healing Dance 2” (2013) , “Nigik Makizinan – Otter Moccasins” (2014) and “Parallel Tasking” (2000) all incorporate culturally specific designs with that of found computer parts to create cross-cultural assemblages. Through the process of traditional craft, the artist is able to bring a tangible representation of digital imagery, and a contemporary aesthetic to floral motifs normally made with glass beads, which have been replaced with circuits, transistors, capacitors and resistors.
“Parallel Tasking” is a work comprising of a fully beaded vest with computer parts and a headdress representing the Great Lakes cultures. The computer parts on the back of the vest are juxtaposed with traditional beadwork on the front creating a metaphor, as the artist states, of “electronic paths that link us as Anishinaabeg in the urban landscape”. “Bandolier” also incorporates the traditional, and sacred, with a digital aesthetic, commenting on the tenacity of the Anishinaabeg of adapting “to rapid change while maintaining a distinct and unique sensibility, aesthetic and spirituality”. The digital age in fact, does not destroy tradition and culture, but allows for a new aesthetic. The heart of the work is still there, such as in the work “Urban Bustle”. A replica of a traditional Plains dance bustle worn by powwow dancers uses found objects, natural materials, a digital screen, glass beads, and electronic components, to name a few. What is specifically significant about this piece is that the screen portrays a black and white, silent archival film from the 1920’s (from Library and Archives Canada) of a powwow from Wikiwemikong on Manitoulin Island. There is a text attached to the work which reads “an unadulterated cultural expression on borrowed colonial media” which is a direct jab at the anthropological idea that those who still uphold traditional practices are somehow “tainted…unauthentic” when using technology. On the contrary, Barry Ace’s works prove there is no cultural erasure with technology. The only erasure referenced in any of these works, is in “Nigik Makizinan – Otter Moccasins” which reference traditional otter moccasins that had trail dusters attached to the heel to wipe away the wearers footprints. The artist’s contemporary take symbolises rather, the erasure of digital identity, bringing up issues of surveillance and the cyber trail we leave behind. The traditional in this work is used as a starting point to talk about contemporary issues. Finally, the work “Healing Dance 2” presents traditional medicinal plants and flowers with strong healing qualities, alongside energy retaining capacitors, showing correlation between two cultures. “Healing Dance 2” creates a bridge between traditional cultures and the digital one.
The artist’s work allows us to see beauty in the mechanical, and also think about cultural innovations; how we do not have to sacrifice our identity in order to be contemporary and innovative. Tradition and technology can coexist together, both helping the other to flourish in today’s digital age.
-Anna Paluch
Cyber TraditionsContemporary Odawa artist Barry Ace works with tradition and technology, creating inter-connectivity between history, tradition, and innovation, using computer components to speak to both electronic and cultural connections specifically among the Anishinaabeg. The artists’ work incorporates the machine into the manmade; natural motifs share the artists’ space with digital materials to stimulate cultural and social connections in order to “map out a new Anishinaabeg cyber-territory”. The works of Ace, such as “Urban Bustle” (2013), “Bandolier” (2011), “Healing Dance 2” (2013) , “Nigik Makizinan – Otter Moccasins” (2014) and “Parallel Tasking” (2000) all incorporate culturally specific designs with that of found computer parts to create cross-cultural assemblages. Through the process of traditional craft, the artist is able to bring a tangible representation of digital imagery, and a contemporary aesthetic to floral motifs normally made with glass beads, which have been replaced with circuits, transistors, capacitors and resistors.
“Parallel Tasking” is a work comprising of a fully beaded vest with computer parts and a headdress representing the Great Lakes cultures. The computer parts on the back of the vest are juxtaposed with traditional beadwork on the front creating a metaphor, as the artist states, of “electronic paths that link us as Anishinaabeg in the urban landscape”. “Bandolier” also incorporates the traditional, and sacred, with a digital aesthetic, commenting on the tenacity of the Anishinaabeg of adapting “to rapid change while maintaining a distinct and unique sensibility, aesthetic and spirituality”. The digital age in fact, does not destroy tradition and culture, but allows for a new aesthetic. The heart of the work is still there, such as in the work “Urban Bustle”. A replica of a traditional Plains dance bustle worn by powwow dancers uses found objects, natural materials, a digital screen, glass beads, and electronic components, to name a few. What is specifically significant about this piece is that the screen portrays a black and white, silent archival film from the 1920’s (from Library and Archives Canada) of a powwow from Wikiwemikong on Manitoulin Island. There is a text attached to the work which reads “an unadulterated cultural expression on borrowed colonial media” which is a direct jab at the anthropological idea that those who still uphold traditional practices are somehow “tainted…unauthentic” when using technology. On the contrary, Barry Ace’s works prove there is no cultural erasure with technology. The only erasure referenced in any of these works, is in “Nigik Makizinan – Otter Moccasins” which reference traditional otter moccasins that had trail dusters attached to the heel to wipe away the wearers footprints. The artist’s contemporary take symbolises rather, the erasure of digital identity, bringing up issues of surveillance and the cyber trail we leave behind. The traditional in this work is used as a starting point to talk about contemporary issues. Finally, the work “Healing Dance 2” presents traditional medicinal plants and flowers with strong healing qualities, alongside energy retaining capacitors, showing correlation between two cultures. “Healing Dance 2” creates a bridge between traditional cultures and the digital one.
The artist’s work allows us to see beauty in the mechanical, and also think about cultural innovations; how we do not have to sacrifice our identity in order to be contemporary and innovative. Tradition and technology can coexist together, both helping the other to flourish in today’s digital age.
-Anna Paluch

Cyber Traditions

Contemporary Odawa artist 
Barry Ace works with tradition and technology, creating inter-connectivity between history, tradition, and innovation, using computer components to speak to both electronic and cultural connections specifically among the Anishinaabeg. The artists’ work incorporates the machine into the manmade; natural motifs share the artists’ space with digital materials to stimulate cultural and social connections in order to “map out a new Anishinaabeg cyber-territory”. 

The works of Ace, such as “Urban Bustle” (2013), “Bandolier” (2011), “Healing Dance 2” (2013) , “Nigik Makizinan – Otter Moccasins” (2014) and “Parallel Tasking” (2000) all incorporate culturally specific designs with that of found computer parts to create cross-cultural assemblages. Through the process of traditional craft, the artist is able to bring a tangible representation of digital imagery, and a contemporary aesthetic to floral motifs normally made with glass beads, which have been replaced with circuits, transistors, capacitors and resistors.

“Parallel Tasking” is a work comprising of a fully beaded vest with computer parts and a headdress representing the Great Lakes cultures. The computer parts on the back of the vest are juxtaposed with traditional beadwork on the front creating a metaphor, as the artist states, of “electronic paths that link us as Anishinaabeg in the urban landscape”. “Bandolier” also incorporates the traditional, and sacred, with a digital aesthetic, commenting on the tenacity of the Anishinaabeg of adapting “to rapid change while maintaining a distinct and unique sensibility, aesthetic and spirituality”. The digital age in fact, does not destroy tradition and culture, but allows for a new aesthetic. The heart of the work is still there, such as in the work “Urban Bustle”. A replica of a traditional Plains dance bustle worn by powwow dancers uses found objects, natural materials, a digital screen, glass beads, and electronic components, to name a few. What is specifically significant about this piece is that the screen portrays a black and white, silent archival film from the 1920’s (from Library and Archives Canada) of a powwow from Wikiwemikong on Manitoulin Island. There is a text attached to the work which reads “an unadulterated cultural expression on borrowed colonial media” which is a direct jab at the anthropological idea that those who still uphold traditional practices are somehow “tainted…unauthentic” when using technology. On the contrary, Barry Ace’s works prove there is no cultural erasure with technology. The only erasure referenced in any of these works, is in “Nigik Makizinan – Otter Moccasins” which reference traditional otter moccasins that had trail dusters attached to the heel to wipe away the wearers footprints. The artist’s contemporary take symbolises rather, the erasure of digital identity, bringing up issues of surveillance and the cyber trail we leave behind. The traditional in this work is used as a starting point to talk about contemporary issues. Finally, the work “Healing Dance 2” presents traditional medicinal plants and flowers with strong healing qualities, alongside energy retaining capacitors, showing correlation between two cultures. “Healing Dance 2” creates a bridge between traditional cultures and the digital one.

The artist’s work allows us to see beauty in the mechanical, and also think about cultural innovations; how we do not have to sacrifice our identity in order to be contemporary and innovative. Tradition and technology can coexist together, both helping the other to flourish in today’s digital age.

-Anna Paluch

(Source: artandsciencejournal.com)

5 Photos
/ Barry Ace anna paluch computer art aboriginal art indigenous art Odawa Anishnaabeg canadian artist beadwork electronics tradition new media art science art and science journal cultural history digital media
Witness by Troy Moth

The eerie and somewhat dystopian works of Troy Moth in his “Witness” photo series mimics a sort of dreamlike world, foggy and mysterious. The true meaning behind Moth’s work is far less fantastical; the artist’s photos depict a world post-oil spill, directly referencing the devastating impact of such an occurrence on Canadian soil.

The artists work is meant to be a sobering reminder of what could be lost. Moth constructs tableaus of scenes, in which he searches for the beauty among the devastation, hoping, as the artist states, “that the earth is stronger than we give her credit for, and more persistent”. 

This environmentally themed work should help create discussions amongst, not only the environmentally conscious, but also amongst all those who would be effected by such a tragedy. Is it possible to transport fuel without a possibility of devastating the environment? Will the consequences to our ecosystem be irreversible? Perhaps even, Moth’s work can help continue the discussion of the benefits in using more sustainable energies.

 Moth’s work is currently being exhibited at Ottawa’s Studio Sixty Six until October 5.

-Anna Paluch
Witness by Troy Moth

The eerie and somewhat dystopian works of Troy Moth in his “Witness” photo series mimics a sort of dreamlike world, foggy and mysterious. The true meaning behind Moth’s work is far less fantastical; the artist’s photos depict a world post-oil spill, directly referencing the devastating impact of such an occurrence on Canadian soil.

The artists work is meant to be a sobering reminder of what could be lost. Moth constructs tableaus of scenes, in which he searches for the beauty among the devastation, hoping, as the artist states, “that the earth is stronger than we give her credit for, and more persistent”. 

This environmentally themed work should help create discussions amongst, not only the environmentally conscious, but also amongst all those who would be effected by such a tragedy. Is it possible to transport fuel without a possibility of devastating the environment? Will the consequences to our ecosystem be irreversible? Perhaps even, Moth’s work can help continue the discussion of the benefits in using more sustainable energies.

 Moth’s work is currently being exhibited at Ottawa’s Studio Sixty Six until October 5.

-Anna Paluch
Witness by Troy Moth

The eerie and somewhat dystopian works of Troy Moth in his “Witness” photo series mimics a sort of dreamlike world, foggy and mysterious. The true meaning behind Moth’s work is far less fantastical; the artist’s photos depict a world post-oil spill, directly referencing the devastating impact of such an occurrence on Canadian soil.

The artists work is meant to be a sobering reminder of what could be lost. Moth constructs tableaus of scenes, in which he searches for the beauty among the devastation, hoping, as the artist states, “that the earth is stronger than we give her credit for, and more persistent”. 

This environmentally themed work should help create discussions amongst, not only the environmentally conscious, but also amongst all those who would be effected by such a tragedy. Is it possible to transport fuel without a possibility of devastating the environment? Will the consequences to our ecosystem be irreversible? Perhaps even, Moth’s work can help continue the discussion of the benefits in using more sustainable energies.

 Moth’s work is currently being exhibited at Ottawa’s Studio Sixty Six until October 5.

-Anna Paluch

Witness by Troy Moth

The eerie and somewhat dystopian works of Troy Moth in his “Witness” photo series mimics a sort of dreamlike world, foggy and mysterious. The true meaning behind Moth’s work is far less fantastical; the artist’s photos depict a world post-oil spill, directly referencing the devastating impact of such an occurrence on Canadian soil.

The artists work is meant to be a sobering reminder of what could be lost. Moth constructs tableaus of scenes, in which he searches for the beauty among the devastation, hoping, as the artist states, “that the earth is stronger than we give her credit for, and more persistent”.

This environmentally themed work should help create discussions amongst, not only the environmentally conscious, but also amongst all those who would be effected by such a tragedy. Is it possible to transport fuel without a possibility of devastating the environment? Will the consequences to our ecosystem be irreversible? Perhaps even, Moth’s work can help continue the discussion of the benefits in using more sustainable energies.

Moth’s work is currently being exhibited at Ottawa’s Studio Sixty Six until October 5.

-Anna Paluch

(Source: artandsciencejournal.com)

3 Photos
/ Troy Moth anna paluch studio sixty six ottawa environmental art political art art science art and science journal environment
Cartographic Assemblages
Maps help us find our way in the world (or make us even more lost), but the concept of a map can also be applied when trying to organize together memories, identity, narrative and materiality.
Artist Lindsey Dunnagan explores the mapping of memories and identity in her series Mapping the Intangible, while in Mapping New Worlds, the artist focuses on manipulating topography, hinting at familiar places, but distorted in a way that the familiar becomes alien.
The materiality of Dunnagan’s work in Mapping the Intangible is significant because the watercolour is mixed with salt, allowing unexpected patterns to form, as if creating city limits, but also transform over time as the salt dries and flakes off. The artist focuses on locations that are familiar and important to her memories and identity, yet unrecognizable to the viewer because the maps juxtapose on one another, creating “false connections”, rather serving, as the artist states, “as an atlas of memory that informs identity”. The same kind of atlas, albeit abstract, can be found in Mapping New Worlds but rather than focusing just on identity and memory, the pieces in this series focus on “concepts of city development, communication, and abstracted” landscape. Familiar images such as cities and roads are obstructed by rivers or clouds, creating an almost mythological narrative of the geography.
Similar to Dunnagan’s work, is that of Scott W. Bradford’s, but rather than mapping out specific locations which focus on geography, Bradford pieces together various elements which map out a narrative through materiality. The artist states that he links “the materiality of the surface to the drawing itself, either metaphorically or in terms of the narrative” in order to emphasize that it is constructed; his maps are fiction. In both his series’ Blueshift and Journey to Nowhere, stories are being told.
Each piece maps out its own narrative, but when the series is presented as a whole, the works become a collection of stories, mapping out an overall narrative of materiality.
-Anna Paluch
Cartographic Assemblages
Maps help us find our way in the world (or make us even more lost), but the concept of a map can also be applied when trying to organize together memories, identity, narrative and materiality.
Artist Lindsey Dunnagan explores the mapping of memories and identity in her series Mapping the Intangible, while in Mapping New Worlds, the artist focuses on manipulating topography, hinting at familiar places, but distorted in a way that the familiar becomes alien.
The materiality of Dunnagan’s work in Mapping the Intangible is significant because the watercolour is mixed with salt, allowing unexpected patterns to form, as if creating city limits, but also transform over time as the salt dries and flakes off. The artist focuses on locations that are familiar and important to her memories and identity, yet unrecognizable to the viewer because the maps juxtapose on one another, creating “false connections”, rather serving, as the artist states, “as an atlas of memory that informs identity”. The same kind of atlas, albeit abstract, can be found in Mapping New Worlds but rather than focusing just on identity and memory, the pieces in this series focus on “concepts of city development, communication, and abstracted” landscape. Familiar images such as cities and roads are obstructed by rivers or clouds, creating an almost mythological narrative of the geography.
Similar to Dunnagan’s work, is that of Scott W. Bradford’s, but rather than mapping out specific locations which focus on geography, Bradford pieces together various elements which map out a narrative through materiality. The artist states that he links “the materiality of the surface to the drawing itself, either metaphorically or in terms of the narrative” in order to emphasize that it is constructed; his maps are fiction. In both his series’ Blueshift and Journey to Nowhere, stories are being told.
Each piece maps out its own narrative, but when the series is presented as a whole, the works become a collection of stories, mapping out an overall narrative of materiality.
-Anna Paluch
Cartographic Assemblages
Maps help us find our way in the world (or make us even more lost), but the concept of a map can also be applied when trying to organize together memories, identity, narrative and materiality.
Artist Lindsey Dunnagan explores the mapping of memories and identity in her series Mapping the Intangible, while in Mapping New Worlds, the artist focuses on manipulating topography, hinting at familiar places, but distorted in a way that the familiar becomes alien.
The materiality of Dunnagan’s work in Mapping the Intangible is significant because the watercolour is mixed with salt, allowing unexpected patterns to form, as if creating city limits, but also transform over time as the salt dries and flakes off. The artist focuses on locations that are familiar and important to her memories and identity, yet unrecognizable to the viewer because the maps juxtapose on one another, creating “false connections”, rather serving, as the artist states, “as an atlas of memory that informs identity”. The same kind of atlas, albeit abstract, can be found in Mapping New Worlds but rather than focusing just on identity and memory, the pieces in this series focus on “concepts of city development, communication, and abstracted” landscape. Familiar images such as cities and roads are obstructed by rivers or clouds, creating an almost mythological narrative of the geography.
Similar to Dunnagan’s work, is that of Scott W. Bradford’s, but rather than mapping out specific locations which focus on geography, Bradford pieces together various elements which map out a narrative through materiality. The artist states that he links “the materiality of the surface to the drawing itself, either metaphorically or in terms of the narrative” in order to emphasize that it is constructed; his maps are fiction. In both his series’ Blueshift and Journey to Nowhere, stories are being told.
Each piece maps out its own narrative, but when the series is presented as a whole, the works become a collection of stories, mapping out an overall narrative of materiality.
-Anna Paluch
Cartographic Assemblages
Maps help us find our way in the world (or make us even more lost), but the concept of a map can also be applied when trying to organize together memories, identity, narrative and materiality.
Artist Lindsey Dunnagan explores the mapping of memories and identity in her series Mapping the Intangible, while in Mapping New Worlds, the artist focuses on manipulating topography, hinting at familiar places, but distorted in a way that the familiar becomes alien.
The materiality of Dunnagan’s work in Mapping the Intangible is significant because the watercolour is mixed with salt, allowing unexpected patterns to form, as if creating city limits, but also transform over time as the salt dries and flakes off. The artist focuses on locations that are familiar and important to her memories and identity, yet unrecognizable to the viewer because the maps juxtapose on one another, creating “false connections”, rather serving, as the artist states, “as an atlas of memory that informs identity”. The same kind of atlas, albeit abstract, can be found in Mapping New Worlds but rather than focusing just on identity and memory, the pieces in this series focus on “concepts of city development, communication, and abstracted” landscape. Familiar images such as cities and roads are obstructed by rivers or clouds, creating an almost mythological narrative of the geography.
Similar to Dunnagan’s work, is that of Scott W. Bradford’s, but rather than mapping out specific locations which focus on geography, Bradford pieces together various elements which map out a narrative through materiality. The artist states that he links “the materiality of the surface to the drawing itself, either metaphorically or in terms of the narrative” in order to emphasize that it is constructed; his maps are fiction. In both his series’ Blueshift and Journey to Nowhere, stories are being told.
Each piece maps out its own narrative, but when the series is presented as a whole, the works become a collection of stories, mapping out an overall narrative of materiality.
-Anna Paluch
Cartographic Assemblages
Maps help us find our way in the world (or make us even more lost), but the concept of a map can also be applied when trying to organize together memories, identity, narrative and materiality.
Artist Lindsey Dunnagan explores the mapping of memories and identity in her series Mapping the Intangible, while in Mapping New Worlds, the artist focuses on manipulating topography, hinting at familiar places, but distorted in a way that the familiar becomes alien.
The materiality of Dunnagan’s work in Mapping the Intangible is significant because the watercolour is mixed with salt, allowing unexpected patterns to form, as if creating city limits, but also transform over time as the salt dries and flakes off. The artist focuses on locations that are familiar and important to her memories and identity, yet unrecognizable to the viewer because the maps juxtapose on one another, creating “false connections”, rather serving, as the artist states, “as an atlas of memory that informs identity”. The same kind of atlas, albeit abstract, can be found in Mapping New Worlds but rather than focusing just on identity and memory, the pieces in this series focus on “concepts of city development, communication, and abstracted” landscape. Familiar images such as cities and roads are obstructed by rivers or clouds, creating an almost mythological narrative of the geography.
Similar to Dunnagan’s work, is that of Scott W. Bradford’s, but rather than mapping out specific locations which focus on geography, Bradford pieces together various elements which map out a narrative through materiality. The artist states that he links “the materiality of the surface to the drawing itself, either metaphorically or in terms of the narrative” in order to emphasize that it is constructed; his maps are fiction. In both his series’ Blueshift and Journey to Nowhere, stories are being told.
Each piece maps out its own narrative, but when the series is presented as a whole, the works become a collection of stories, mapping out an overall narrative of materiality.
-Anna Paluch
Cartographic Assemblages
Maps help us find our way in the world (or make us even more lost), but the concept of a map can also be applied when trying to organize together memories, identity, narrative and materiality.
Artist Lindsey Dunnagan explores the mapping of memories and identity in her series Mapping the Intangible, while in Mapping New Worlds, the artist focuses on manipulating topography, hinting at familiar places, but distorted in a way that the familiar becomes alien.
The materiality of Dunnagan’s work in Mapping the Intangible is significant because the watercolour is mixed with salt, allowing unexpected patterns to form, as if creating city limits, but also transform over time as the salt dries and flakes off. The artist focuses on locations that are familiar and important to her memories and identity, yet unrecognizable to the viewer because the maps juxtapose on one another, creating “false connections”, rather serving, as the artist states, “as an atlas of memory that informs identity”. The same kind of atlas, albeit abstract, can be found in Mapping New Worlds but rather than focusing just on identity and memory, the pieces in this series focus on “concepts of city development, communication, and abstracted” landscape. Familiar images such as cities and roads are obstructed by rivers or clouds, creating an almost mythological narrative of the geography.
Similar to Dunnagan’s work, is that of Scott W. Bradford’s, but rather than mapping out specific locations which focus on geography, Bradford pieces together various elements which map out a narrative through materiality. The artist states that he links “the materiality of the surface to the drawing itself, either metaphorically or in terms of the narrative” in order to emphasize that it is constructed; his maps are fiction. In both his series’ Blueshift and Journey to Nowhere, stories are being told.
Each piece maps out its own narrative, but when the series is presented as a whole, the works become a collection of stories, mapping out an overall narrative of materiality.
-Anna Paluch

Cartographic Assemblages

Maps help us find our way in the world (or make us even more lost), but the concept of a map can also be applied when trying to organize together memories, identity, narrative and materiality.

Artist Lindsey Dunnagan explores the mapping of memories and identity in her series Mapping the Intangible, while in Mapping New Worlds, the artist focuses on manipulating topography, hinting at familiar places, but distorted in a way that the familiar becomes alien.

The materiality of Dunnagan’s work in Mapping the Intangible is significant because the watercolour is mixed with salt, allowing unexpected patterns to form, as if creating city limits, but also transform over time as the salt dries and flakes off. The artist focuses on locations that are familiar and important to her memories and identity, yet unrecognizable to the viewer because the maps juxtapose on one another, creating “false connections”, rather serving, as the artist states, “as an atlas of memory that informs identity”. The same kind of atlas, albeit abstract, can be found in Mapping New Worlds but rather than focusing just on identity and memory, the pieces in this series focus on “concepts of city development, communication, and abstracted” landscape. Familiar images such as cities and roads are obstructed by rivers or clouds, creating an almost mythological narrative of the geography.

Similar to Dunnagan’s work, is that of Scott W. Bradford’s, but rather than mapping out specific locations which focus on geography, Bradford pieces together various elements which map out a narrative through materiality. The artist states that he links “the materiality of the surface to the drawing itself, either metaphorically or in terms of the narrative” in order to emphasize that it is constructed; his maps are fiction. In both his series’ Blueshift and Journey to Nowhere, stories are being told.

Each piece maps out its own narrative, but when the series is presented as a whole, the works become a collection of stories, mapping out an overall narrative of materiality.

-Anna Paluch

(Source: artandsciencejournal.com)

6 Photos
/ lindsey dunnagan scott w. bradford anna paluch cartography mapping topography geography landscape narrative materiality constructions blueprint painting art science science fiction art and science journal identiy memory ottawa art texas art
Outer-site Art
 
Tokyo-based artist Makoto Azuma doesn’t appear to believe in doing things by halves. His latest installation looks at the universe, beyond Earth, as a site for appreciating beauty and art. Two pieces, a Japanese white pine bonsai known as the “Shiki 1”, and an untitled arrangement of orchids, hydrangeas, lilies and irises, were launched into the stratosphere last week in the Black Rock Desert, Nevada. This is part of project Exobotanica – Botanical Space Flight (see more pictures here), where Azuma heads a 10 person team, coupled with Sacramento-based JP Aerospace — “America’s Other Space Program”, a volunteer-based organization that constructs and sends vessels into orbit.
 
Azuma is interested in the beauty of organic movement in plants, and how this beauty would be suspended in space as a weightless environment. The objects themselves – the bonsai plant and the flower arrangement, have an almost uneasy juxtaposition in their nature. On the one hand, they are organic, Earth-bound items that send instant connotations to the viewer about the beauty of our natural world, yet both represent a natural world moulded by human hands – the miniaturised tree and the specifically arranged flowers. In the end, they can almost be seen less as art and more as specific examples of Earthly design; an amalgamation of human and mother nature’s architecture, broadcast to the universe beyond.
 
But equally as stunning is the documentary imagery itself, taken from orbit and brought back to Earth. Oh to see what those blossoms have seen!

- Alinta Krauth 
Outer-site Art
 
Tokyo-based artist Makoto Azuma doesn’t appear to believe in doing things by halves. His latest installation looks at the universe, beyond Earth, as a site for appreciating beauty and art. Two pieces, a Japanese white pine bonsai known as the “Shiki 1”, and an untitled arrangement of orchids, hydrangeas, lilies and irises, were launched into the stratosphere last week in the Black Rock Desert, Nevada. This is part of project Exobotanica – Botanical Space Flight (see more pictures here), where Azuma heads a 10 person team, coupled with Sacramento-based JP Aerospace — “America’s Other Space Program”, a volunteer-based organization that constructs and sends vessels into orbit.
 
Azuma is interested in the beauty of organic movement in plants, and how this beauty would be suspended in space as a weightless environment. The objects themselves – the bonsai plant and the flower arrangement, have an almost uneasy juxtaposition in their nature. On the one hand, they are organic, Earth-bound items that send instant connotations to the viewer about the beauty of our natural world, yet both represent a natural world moulded by human hands – the miniaturised tree and the specifically arranged flowers. In the end, they can almost be seen less as art and more as specific examples of Earthly design; an amalgamation of human and mother nature’s architecture, broadcast to the universe beyond.
 
But equally as stunning is the documentary imagery itself, taken from orbit and brought back to Earth. Oh to see what those blossoms have seen!

- Alinta Krauth 
Outer-site Art
 
Tokyo-based artist Makoto Azuma doesn’t appear to believe in doing things by halves. His latest installation looks at the universe, beyond Earth, as a site for appreciating beauty and art. Two pieces, a Japanese white pine bonsai known as the “Shiki 1”, and an untitled arrangement of orchids, hydrangeas, lilies and irises, were launched into the stratosphere last week in the Black Rock Desert, Nevada. This is part of project Exobotanica – Botanical Space Flight (see more pictures here), where Azuma heads a 10 person team, coupled with Sacramento-based JP Aerospace — “America’s Other Space Program”, a volunteer-based organization that constructs and sends vessels into orbit.
 
Azuma is interested in the beauty of organic movement in plants, and how this beauty would be suspended in space as a weightless environment. The objects themselves – the bonsai plant and the flower arrangement, have an almost uneasy juxtaposition in their nature. On the one hand, they are organic, Earth-bound items that send instant connotations to the viewer about the beauty of our natural world, yet both represent a natural world moulded by human hands – the miniaturised tree and the specifically arranged flowers. In the end, they can almost be seen less as art and more as specific examples of Earthly design; an amalgamation of human and mother nature’s architecture, broadcast to the universe beyond.
 
But equally as stunning is the documentary imagery itself, taken from orbit and brought back to Earth. Oh to see what those blossoms have seen!

- Alinta Krauth 
Outer-site Art
 
Tokyo-based artist Makoto Azuma doesn’t appear to believe in doing things by halves. His latest installation looks at the universe, beyond Earth, as a site for appreciating beauty and art. Two pieces, a Japanese white pine bonsai known as the “Shiki 1”, and an untitled arrangement of orchids, hydrangeas, lilies and irises, were launched into the stratosphere last week in the Black Rock Desert, Nevada. This is part of project Exobotanica – Botanical Space Flight (see more pictures here), where Azuma heads a 10 person team, coupled with Sacramento-based JP Aerospace — “America’s Other Space Program”, a volunteer-based organization that constructs and sends vessels into orbit.
 
Azuma is interested in the beauty of organic movement in plants, and how this beauty would be suspended in space as a weightless environment. The objects themselves – the bonsai plant and the flower arrangement, have an almost uneasy juxtaposition in their nature. On the one hand, they are organic, Earth-bound items that send instant connotations to the viewer about the beauty of our natural world, yet both represent a natural world moulded by human hands – the miniaturised tree and the specifically arranged flowers. In the end, they can almost be seen less as art and more as specific examples of Earthly design; an amalgamation of human and mother nature’s architecture, broadcast to the universe beyond.
 
But equally as stunning is the documentary imagery itself, taken from orbit and brought back to Earth. Oh to see what those blossoms have seen!

- Alinta Krauth 
Outer-site Art
 
Tokyo-based artist Makoto Azuma doesn’t appear to believe in doing things by halves. His latest installation looks at the universe, beyond Earth, as a site for appreciating beauty and art. Two pieces, a Japanese white pine bonsai known as the “Shiki 1”, and an untitled arrangement of orchids, hydrangeas, lilies and irises, were launched into the stratosphere last week in the Black Rock Desert, Nevada. This is part of project Exobotanica – Botanical Space Flight (see more pictures here), where Azuma heads a 10 person team, coupled with Sacramento-based JP Aerospace — “America’s Other Space Program”, a volunteer-based organization that constructs and sends vessels into orbit.
 
Azuma is interested in the beauty of organic movement in plants, and how this beauty would be suspended in space as a weightless environment. The objects themselves – the bonsai plant and the flower arrangement, have an almost uneasy juxtaposition in their nature. On the one hand, they are organic, Earth-bound items that send instant connotations to the viewer about the beauty of our natural world, yet both represent a natural world moulded by human hands – the miniaturised tree and the specifically arranged flowers. In the end, they can almost be seen less as art and more as specific examples of Earthly design; an amalgamation of human and mother nature’s architecture, broadcast to the universe beyond.
 
But equally as stunning is the documentary imagery itself, taken from orbit and brought back to Earth. Oh to see what those blossoms have seen!

- Alinta Krauth 
Outer-site Art
 
Tokyo-based artist Makoto Azuma doesn’t appear to believe in doing things by halves. His latest installation looks at the universe, beyond Earth, as a site for appreciating beauty and art. Two pieces, a Japanese white pine bonsai known as the “Shiki 1”, and an untitled arrangement of orchids, hydrangeas, lilies and irises, were launched into the stratosphere last week in the Black Rock Desert, Nevada. This is part of project Exobotanica – Botanical Space Flight (see more pictures here), where Azuma heads a 10 person team, coupled with Sacramento-based JP Aerospace — “America’s Other Space Program”, a volunteer-based organization that constructs and sends vessels into orbit.
 
Azuma is interested in the beauty of organic movement in plants, and how this beauty would be suspended in space as a weightless environment. The objects themselves – the bonsai plant and the flower arrangement, have an almost uneasy juxtaposition in their nature. On the one hand, they are organic, Earth-bound items that send instant connotations to the viewer about the beauty of our natural world, yet both represent a natural world moulded by human hands – the miniaturised tree and the specifically arranged flowers. In the end, they can almost be seen less as art and more as specific examples of Earthly design; an amalgamation of human and mother nature’s architecture, broadcast to the universe beyond.
 
But equally as stunning is the documentary imagery itself, taken from orbit and brought back to Earth. Oh to see what those blossoms have seen!

- Alinta Krauth 

Outer-site Art

 

Tokyo-based artist Makoto Azuma doesn’t appear to believe in doing things by halves. His latest installation looks at the universe, beyond Earth, as a site for appreciating beauty and art. Two pieces, a Japanese white pine bonsai known as the “Shiki 1”, and an untitled arrangement of orchids, hydrangeas, lilies and irises, were launched into the stratosphere last week in the Black Rock Desert, Nevada. This is part of project Exobotanica – Botanical Space Flight (see more pictures here), where Azuma heads a 10 person team, coupled with Sacramento-based JP Aerospace — “America’s Other Space Program”, a volunteer-based organization that constructs and sends vessels into orbit.

 

Azuma is interested in the beauty of organic movement in plants, and how this beauty would be suspended in space as a weightless environment. The objects themselves – the bonsai plant and the flower arrangement, have an almost uneasy juxtaposition in their nature. On the one hand, they are organic, Earth-bound items that send instant connotations to the viewer about the beauty of our natural world, yet both represent a natural world moulded by human hands – the miniaturised tree and the specifically arranged flowers. In the end, they can almost be seen less as art and more as specific examples of Earthly design; an amalgamation of human and mother nature’s architecture, broadcast to the universe beyond.

 

But equally as stunning is the documentary imagery itself, taken from orbit and brought back to Earth. Oh to see what those blossoms have seen!

- Alinta Krauth 

6 Photos
/ exobotanica azuma makoto jp aerospace shiki 1 art and science art and science journal space botanical botany alinta krauth
On the Farm, Under the Microscope
Microscopic images can tell us a lot about organisms too small to observe with the naked eye, but studying these organisms does not give us a true image of their form, as lenses and lighting can distort certain elements. Artist Carina Profir focuses on this alteration of specimen by emulating the mechanisms and process of the microscopy in her series On the Farm (2013).
The artist tackles the issue of altered image by photographing livestock, mimicking the microscopic ‘point-of-view’, and stitching together photographs to create an organic flow of multiple specimens. Livestock are very important to studies in microbiology. Most notably, in 1937, veterinarian Max Sterne created a vaccine for live spore anthrax among livestock, which greatly lowered the risk of humans inhaling the bacteria. The photo compositions of Profir are themselves a direct references to slides taken of the Bacillus anthracis microbe. 

By seeing the cows and sheep in a new perspective, it alters our perception of depth and size. The artist herself states, that the work provides a “glimpse into scientific imaging and the expansive duality of scientific truth and fiction”. One can begin to wonder how true microscopic organisms might actually look, without the distortions provided by microscopes. 
-Anna Paluch
On the Farm, Under the Microscope
Microscopic images can tell us a lot about organisms too small to observe with the naked eye, but studying these organisms does not give us a true image of their form, as lenses and lighting can distort certain elements. Artist Carina Profir focuses on this alteration of specimen by emulating the mechanisms and process of the microscopy in her series On the Farm (2013).
The artist tackles the issue of altered image by photographing livestock, mimicking the microscopic ‘point-of-view’, and stitching together photographs to create an organic flow of multiple specimens. Livestock are very important to studies in microbiology. Most notably, in 1937, veterinarian Max Sterne created a vaccine for live spore anthrax among livestock, which greatly lowered the risk of humans inhaling the bacteria. The photo compositions of Profir are themselves a direct references to slides taken of the Bacillus anthracis microbe. 

By seeing the cows and sheep in a new perspective, it alters our perception of depth and size. The artist herself states, that the work provides a “glimpse into scientific imaging and the expansive duality of scientific truth and fiction”. One can begin to wonder how true microscopic organisms might actually look, without the distortions provided by microscopes. 
-Anna Paluch
On the Farm, Under the Microscope
Microscopic images can tell us a lot about organisms too small to observe with the naked eye, but studying these organisms does not give us a true image of their form, as lenses and lighting can distort certain elements. Artist Carina Profir focuses on this alteration of specimen by emulating the mechanisms and process of the microscopy in her series On the Farm (2013).
The artist tackles the issue of altered image by photographing livestock, mimicking the microscopic ‘point-of-view’, and stitching together photographs to create an organic flow of multiple specimens. Livestock are very important to studies in microbiology. Most notably, in 1937, veterinarian Max Sterne created a vaccine for live spore anthrax among livestock, which greatly lowered the risk of humans inhaling the bacteria. The photo compositions of Profir are themselves a direct references to slides taken of the Bacillus anthracis microbe. 

By seeing the cows and sheep in a new perspective, it alters our perception of depth and size. The artist herself states, that the work provides a “glimpse into scientific imaging and the expansive duality of scientific truth and fiction”. One can begin to wonder how true microscopic organisms might actually look, without the distortions provided by microscopes. 
-Anna Paluch
On the Farm, Under the Microscope
Microscopic images can tell us a lot about organisms too small to observe with the naked eye, but studying these organisms does not give us a true image of their form, as lenses and lighting can distort certain elements. Artist Carina Profir focuses on this alteration of specimen by emulating the mechanisms and process of the microscopy in her series On the Farm (2013).
The artist tackles the issue of altered image by photographing livestock, mimicking the microscopic ‘point-of-view’, and stitching together photographs to create an organic flow of multiple specimens. Livestock are very important to studies in microbiology. Most notably, in 1937, veterinarian Max Sterne created a vaccine for live spore anthrax among livestock, which greatly lowered the risk of humans inhaling the bacteria. The photo compositions of Profir are themselves a direct references to slides taken of the Bacillus anthracis microbe. 

By seeing the cows and sheep in a new perspective, it alters our perception of depth and size. The artist herself states, that the work provides a “glimpse into scientific imaging and the expansive duality of scientific truth and fiction”. One can begin to wonder how true microscopic organisms might actually look, without the distortions provided by microscopes. 
-Anna Paluch

On the Farm, Under the Microscope

Microscopic images can tell us a lot about organisms too small to observe with the naked eye, but studying these organisms does not give us a true image of their form, as lenses and lighting can distort certain elements. Artist Carina Profir focuses on this alteration of specimen by emulating the mechanisms and process of the microscopy in her series On the Farm (2013).

The artist tackles the issue of altered image by photographing livestock, mimicking the microscopic ‘point-of-view’, and stitching together photographs to create an organic flow of multiple specimens. Livestock are very important to studies in microbiology. Most notably, in 1937, veterinarian Max Sterne created a vaccine for live spore anthrax among livestock, which greatly lowered the risk of humans inhaling the bacteria. The photo compositions of Profir are themselves a direct references to slides taken of the Bacillus anthracis microbe.

By seeing the cows and sheep in a new perspective, it alters our perception of depth and size. The artist herself states, that the work provides a “glimpse into scientific imaging and the expansive duality of scientific truth and fiction”. One can begin to wonder how true microscopic organisms might actually look, without the distortions provided by microscopes. 

-Anna Paluch

(Source: artandsciencejournal.com)

4 Photos
/ Carina Profir anna paluch Microscopy microbiology microscopic photography bacillus anthracis livestock Max Sterne Centers for Disease Control and Prevention Ottawa School of Art ottawa art scene ottawa art ottawa artists art science art and science journal farm
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
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

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