As well as illustrated articles and interviews, the magazine will include ‘visual’ and ‘sound’ articles.
Sohrab Crews’ experience of a range of different geographical and cultural contexts has had a strong bearing on his work, as has his significant interest in post-war European avant-garde art, American painting and sculpture, and mixed-media practices of all kinds. His own work manifests the recurrent themes of order and control, structure, colour and expressive intensity, notably through his ongoing experimentation with a wide range of ideas, mediums and techniques.
Gayle Chong Kwan is an award-winning multidisciplinary artist and academic whose work is exhibited internationally in galleries and the public realm. Her large-scale photographic works, immersive installations, and sensory ritual events are at the intersection of historical and archival research and fine art practice, and position the viewer as one element in a cosmology of the political, social and ecological. She has created a new installation work, ‘Oneiric Archaeologies’, in VR game design, sound, tactile wearable sculptures, and social dreaming to explore the collective re-shaping, re-use, and understanding of Avebury Neolithic site through dreaming.
Siobhán McDonald is an Irish artist based in Dublin. In a practice that emphasizes field work and collaboration she works with natural materials, withdrawing them from their cycles of generation, growth and decay. Through painting, film, sound and sculpture McDonald explores Dublin Port as a gateway of exchange—reimagined as a porous space of interspecies cohabitation. This haunting journey along the wetland—located on the edges of the port—is a breathing, living system that is able to respond to sea level rise.
‘The Art-Science Symbiosis’ book outlines new approaches to understand current scientific practice in general and art-science in particular, showcasing how contemporary art can provide a unique perspective on the meaning and potential of collaboration. The book explores the different scopes of the art- science practice and 22 art-science works from all over the world, including interviews and descriptions by the same art-scientists.
Lucinda Burgess’s background in painting, landscape design and oriental philosophy has led to a fascination with the raw elemental qualities of materials and inform a sculptural practice that accentuates the reality of constant change, undermining the idea of a fixed thing, object, entity or identity.
Pascale Pollier’s work attempts to capture the point where art and science meld. An alchemist at heart, her work begins with observation and experimentation, and is steeped in solid scientific research and findings.
Her inspiration is drawn from observing the internal and external human body in all its diversity, life and nature in all its beauty, strength, fragility, disease, mortality, immortality and death. New technologies and philosophies, quantum physics, nanotechnology, animatronics are amongst her interest and are important in her work.
Chantal Pollier is a visual artist who prefers to work with stone. (and in wax, glass, drawings, and photography) All her work holds references to temporality and transience. Many are rooted in science, with a particular interest in geology, biology, anatomy and morphology. The way in which collaborating artists and scientists can enter each other’s territory, and the extent to which they can thereby add new dimensions to both their own work and that of their partners, leads to refreshing perspectives.
Julian Voss-Andreae, a German sculptor based in Portland (Oregon, USA) is widely known for his striking large-scale public and private commissions often blending figurative sculpture with scientific insights into the nature of reality. His sculptures are frequently shown at international art fairs and galleries and can be found in major collections all over the world. Voss-Andreae’s work has been featured in print and broadcast media worldwide and videos of his sculpture have gone viral with tens of millions of views. His expertise in diverse fields of science and a deep passion for the mysteries of the world have been a continual source of inspiration for his work.
Artist and writer, Richard Bright, has addressed the relationship between art, science and consciousness for over 40 years. He studied Fine Art and Physics before founding The Interalia Centre in 1990. Since then, he has lectured extensively on art and science and written articles on James Turrell, Andy Goldsworthy and Susan Derges, among others. He has exhibited both nationally and internationally and was the recipient of the ‘Visions of Science’ Award, The Edge, Andrew Brownsward Gallery, University of Bath (Second Prize Winner). Co-author of ‘The Art of Science’ (Welbeck Publishers, 2021). In ‘Forming’, he shows some of his latest work that explores flow and transience.
Through drawing and printmaking Ian Chamberlain reinterprets man-made structures as monuments in the landscape. These structures are architectural metaphors of past and current technological achievements. He has had a long-standing fascination with technology and architectural forms especially the structures within industry, agriculture, science and the military. These have included Goonhilly Earth station, The Lovell Telescope, Cheshire Maunsell Sea Forts in the Thames estuary and the Acoustic Sound Mirrors on the South Kent Coast.