“Within my art practice I examine ways in which climate and current cultural awareness influence how we regard landscape phenomena”.
Catherine Richardson experiments with natural processes using paint, inks, pond water and metals; building a library of textures by freezing, thawing, evaporating, heating and burning. Using these textures the artist compiles mixed medium ‘paintings’ on panel or paper. Richardson then uses digital techniques to organize a collage of scanned textures, creating imagery that expresses landforms experienced.
“The underlying focus of my work is to reverse engineer the psychology behind the human experience of special places. What I mean by ‘special places’ are precise locations in our world where something very powerful happens; namely, a reaction that goes beyond the visual to also encompass a visceral and cognitive response.”
Daniel Ambrosi has been exploring groundbreaking methods of visual presentation since graduating from Cornell University with degrees in architecture and 3D graphics. In 2011, he devised a unique form of computational photography that generates extremely high-resolution immersive vibrant images, His latest work, ‘Dreamscapes’, builds upon his previous experiments by adding a powerful new graphics tool, a modified version of ‘DeepDream’, a computer vision program evolved from Google engineers’ desire to visualize the inner workings of Deep Learning artificial intelligence models.
“My main aim is to raise questions about how scientific developments – particularly relating to my current preoccupation with medical imaging – change the way people think about themselves, their bodies and their identity”.
Julie Light is a visual artist primarily creating sculptural objects in glass and other materials. Her current work is focused on the relationships between medical technologies and the self.
“My art practice involves an interplay between photography and scientific imaging, and is concentrated in the specific area of scientific photography made by the Scanning Electron Microscope (SEM), which has expanded the boundaries of observation and representation of the micro world. My work in the field of photomicrography aims to expand human visual vocabulary, revealing principles of beauty which are typically difficult to otherwise access”.
New media artist, Anastasia Tyurina, is an Associate Professor at the National Research University of Electronic Technology, Moscow and a sessional academic at Queensland College of Art, Griffith University, Brisbane.
Jenny Walsh is a glass artist who uses glass in combination with other materials to explore the interface between art, science and technology, examining both the role of glass in scientific discoveries, as well as using glass to convey scientific concepts.
Leonie Bradley is an artist working in a range of media including film, photography and print. Her work explores scale and ways of looking, from a unique tonal range. She creates large, handmade digital images that subvert the conventional viewing distance.
‘Wavefront’ is a collaboration with Kit Yates, Senior Lecturer in Department of Mathematical Sciences and Tim Rogers, Reader in Department of Mathematical Sciences, University of Bath.
Costas Andrew Mikellides is a qualified Interior Designer, former Chairman of the British Institute of Interior Design, Fellow Member of the Royal Chartered Society of Designers, with experience in industry and education.
“At the heart of James Harpur’s ‘The White Silhouette’ is a meditative poem inspired by ‘The Book of Kells’, a poem that follows threads into themes such as the nature of the divine, the efficacy of sacred art, and the way of silence.”
Francesca Diano discovers in the work of a contemporary poet, James Harpur, a maze of connections that takes her on a journey through Neoplatonism to Krishnamurti and quantum mechanics.
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.
Tam Hunt is an Affiliate Guest in Psychology in the META Lab, Psychological and Brain Sciences Department, University of California, Santa Barbara. His work focuses on the philosophy of mind, reconciliation of scientific and spiritual views of the world, and the interaction of mind and matter. A practicing lawyer, he brings a unique perspective to psychology and philosophy.
Thomas Cronin is Professor of Biological Sciences, University of Maryland, Baltimore County. His research interest is in Visual ecology: the evolution, adaptation, and specialization of visual systems of animals ranging from the simplest marine invertebrates to complex animals like mantis shrimps, cuttlefish, whooping cranes, and right whales