Archive of Author | Richard Bright

About Richard Bright

Richard Bright
Artist and Writer; Studied Fine Art (BA) and Physics (Bsc); Editor-in-Chief: Interalia Magazine; Founder and Director of The Interalia Centre (founded in 1990 - www,interaliacentre.org), an organisation which addresses the relationship between the Arts, Sciences and Consciousness through innovative conferences, lectures and workshops, establishing a dialogue between art and science at an accessible level. Since The Interalia Centre was founded, it has successfully run 11 International conferences, 2 art/science festivals, "Dialogues" between artists and scientists, "science-in-art" residencies, as well as taking the art/science dialogue into the business environment. Lectured widely on the Art/Science interface, and has also given courses on colour theory and practice, geometry and art, and scientific concepts in early 20th century art. Book publications include – Andy Goldsworthy: Ice and Snow Drawings (Fruitmarket Gallery, Edinburgh, 1992); Susan Derges: River Taw (Michael Hue-Williams, London, 1997); James Turrell: The Elliptic Eclipse (MJH/Cantz Publishers,1999); Strange and Charmed: Science and the Contemporary Visual Arts - contributing chapter: – ‘Uncertain Entanglements: Art and Physics’ (Calouste Gulbenkian Foundation, 2000). Shortlisted for the Arts and Business ‘Creative Britons 2000’ Award, and recipient of a Sci~art 2000 award (with Professors John D Barrow and Martin Kemp), for the project ‘Connections in Space: from the Quantum to the Cosmos’ - CD and Website.

Articles with Richard Bright

Ai-Da: Robot Artist

“Ai-Da is the world’s first ultra-realistic AI robot artist. She can draw, and is a performance artist. As a machine, with AI capabilities, her artist persona is the artwork, along with her drawings, performance art and collaborative paintings and sculptures.”

Named in honour of the pioneering female mathematician Ada Lovelace, Ai-Da was invented by gallery director Aidan Meller. She had her first solo exhibition, ‘Unsecured Futures’, at St John’s College, Oxford in June 2019.

Neural Communications

“I create drawings that offer an interpretation on mental processes to reveal the nature of human consciousness and the process of thought, bridging the connection between the mysterious three pound macroscopic brain and the microscopic behaviour of neurons.”

Artist, writer and Editor of Interalia Magazine, Richard Bright, has addressed the relationship between art, science and consciousness for over 30 years.

Review: Gemma Anderson’s ‘Drawing as a Way of Knowing in Art and Science’.

In recent history, the arts and sciences have often been considered opposing fields of study, but a growing trend in drawing research is beginning to bridge this divide. Gemma Anderson’s ‘Drawing as a Way of Knowing in Art and Science’ introduces tested ways in which drawing as a research practice can enhance morphological insight, specifically within the natural sciences, mathematics and art.

Contemplations and Neural Communications

“My art seeks to give form to those processes of thought which have yet to be fully articulated and to explore the enormous scope of the beautiful and delicately balanced neural choreographies designed to reflect what is occurring in our own minds as we think.”

Artist and writer, Richard Bright, has addressed the relationship between art, science and consciousness for over 30 years. In his recent series of drawings he explores the impermanent and shifting process of thinking.

Contemplations

“My art seeks to give form to those processes of thought which have yet to be fully articulated and to explore the enormous scope of the beautiful and delicately balanced neural choreographies designed to reflect what is occurring in our own minds as we think.

In the ‘Contemplation’ series of drawings the process of repetitive mark-making enables a heightening of concentration, acting like a visual mantra or kasina, focussing shifting thoughts and intending to settle the mind of the practitioner.

Building up in layers, the work plays with the transitory nature of light and perception. The viewer becomes a part of the process, whose eyes move across the work, creating an opportunity of awareness into the temporal nature of reality and, hopefully, stillness of the mind.”