Jon Sasaki, Microbes Swabbed from a Palette Used by A.J. Casson, 2013, digital print, 38 1/4 x 38 1/4” Jon Sasaki, Microbes Swabbed from a Palette Used by Tom Thomson, 2013, digital print, 38 1/4 x 38 1/4” Jon Sasaki, Microbes Swabbed from a Palette Used by Frederick Varley, 2013, digital print, 38 1/4 x 38 1/4”

Imaging Bacteria: Jon Sasaki’s New Photographic Work

Jon Sasaki’s recent photo-based work situates itself decisively at the nexus of humour, history, art and science. Three works in particular, Microbes Swabbed From a Palette Used By A.J. Casson, Microbes Swabbed From a Palette Used By Frederick Varley, and Microbes Swabbed From a Palette Used By Tom Thomson, all from 2013, embody Sasaki’s characteristic critical wit; the delicate abstract formations are bacterial cultures, grown in Petri dishes and born of microbes culled from paint palettes. Enshrined at the McMichael Canadian Art Collection, the palettes belong to late members of the Group of Seven.

A nod to the history and mythology of Canadian art and a persistent fascination with landscape, the microcosmic bacterial formations, while formally abstract, hint to painterly landscapes in their subtle tones, organic structures and tectonic shapes. The process of swabbing Group of Seven palettes speaks to a different mythology: that of the ‘Great Canadian painter.’ Is the use of such specific microbes, tied inextricably to the individual painter, an homage to the artist – or a clever critique of artistic genius? Regardless of critical intent, the inherent visual variety of the work affords each image a personality and the ability to act as a portrait of the artist whose palette microbes were used.

Sasaki’s photographs bridge the methodical and the mythological, re-imagining both the traditional Canadian landscape painting and the artist-worship trope. His employment of science-based methods in artistic practice works to undermine harsh disciplinary categories. Classification is cast off playfully; at the site of this betrayal, a rare experience of simultaneous wonder and amusement is afforded.

These and other new works by Jon Sasaki are on view at Jessica Bradley Gallery in Toronto from January 12 through March 16, 2013.

More of Sasaki’s work can be seen here.

-Natasha Chaykowski

Simon F. Park Simon F. Park Simon F. Park Simon F. Park

Simon F. Park

A Senior Lecturer in Molecular Bacteriology at University of Surrey, Simon F. Park’s artworks are driven by a need to correct the common misconception that microbiological life is primitive and always detrimental. As Park states,  

“I hope that through my art, and collaborations with artists, that the real and sublime nature of the microbiological world can be revealed. I also find the interface between arts and science to be a powerfully pluripotent one, that can occasionally give rise to outliers and thus new avenues of scientific investigation.”

As a microbiologist, Park works mostly with microorganisms and uses them to explore the inherent creativity of the natural world and to reveal its subtle, and usually hidden, narratives. But, rather than imposing any strict human-centred design upon the organisms that he works with, he prefers to evoke them as  co-authors in the creative process so that important events that many of us often overlook, or fail to consider intimately, become manifest. To see more of Park’s work, click here. 

- Lee Jones

Philips Bio-Light: Bacteria as Energy Source


Philips’ newest Microbial Home concept is a resourceful and visually dynamic bio-light that uses bioluminescent bacteria, fed with methane and composted material (poop and waste) as an energy source. As you can see, this light is not only an achievement technologically and scientifically, but it is pretty impressive aesthetically as well.

For Philips, however, this is more than a light — it is a life-changing idea: “Potentially biological products could be self-energizing, adaptive, responsive, self-repairing, act as biological sensors to environmental conditions, and change the way we communicate information.”

So there’s waste, and then light, but how does it work? In scientific terms, bioluminescent organisms produce luciferase, an enzyme, which interacts with a molecule called a luciferin, which emits light. This type of light is produced at low temperatures (unlike incandescence, where light is produced as a result of high heat).

Luminescent light is consequently less intense, described as “more suitable for … ambience and indication than functional illumination”. It is slower than conventional light sources, and its functionality depends on the living material’s life itself. What’s cool about that, though, is that the light emitted is susceptible to change, and likely to react to its environmental setting. Essentially, it’s an ambiance-creating light source with a life of its own. 

Philips sees a more practical future for this concept in night-time road markings, warning strips on flights of stairs, informational markings on cultural institutions, and the like. As well, they see potential in its ability to create new genres of atmospheric interior lighting, that could potentially have therapeutic effects. All of this said, there are no plans to sell this light as a Philips product. Instead, it is intended to spark discussion: “this concept is testing a possible future — not prescribing one.” Oh well… we can dream!

In the meantime, you can have a look at some other Philips Microbial Home concepts here. For more information on the bio-light, click here.

- Gabrielle Doiron