A war pilot crash-lands through his apartment window. When his wife returns from work, she discovers that her husband’s face has been replaced by an airplane turbine. He’s also fallen in love with their kitchen ceiling fan. To save their faltering marriage, his wife decides she will no longer let her humanity get in the way of love.
“I am drawn to that which may be forgotten or become obsolete, whether that be an object, individual, process or place. I am also interested in working with objects that embody or communicate a sense of time, responding to them through mark-making and colour.”
Ruth Chambers is an artist whose work explores themes including the changing material culture of communication, paper culture, and the history and function of surface pattern.
Sarah Sutton is an associate professor of Art at Ithaca College, who is interested in vision science, spatial structures and speculative futures. Although her work is grounded in her painting practice, her collaboration with scientists and philosophers with overlapping interests provides creativity and vitality to her painting and teaching.
Siobhan McDonald is an award-winning Irish artist interested in the changeable nature of landmass, historical events and their interconnection to time. Her latest exhibition, titled ‘Hidden Monuments’, presents a series of artistic enquiries to remind us of the Cairns, standing stones and Megalithic structures that foreshadow our architectural histories.
Jasmine Pradissitto is a physicist and a painter who sculpts and creates installations in plastics, light, metal, and geopolymers, embracing the dual worlds of the Scientist and Artist.
Described as ‘holograms you can touch’, her sculptures in new and discarded plastics, change in colour as the observer moves. Inspired by nature, the human condition, and scientific breakthroughs, forms are melted and reshaped from plastics using an innovative process she has developed, as a commentary on an unsustainable, increasingly Anthropocene world slowly being reshaped by the things we consume and then disregard.
Nicolas Strappini’s work investigates how physical science apparatus and experimental equipment can be used alongside printmaking and many other mark-making processes to form novel artworks. The formations that he creates appear to be self-authoring and generative, and use techniques that are to some degree dependent on natural, random processes.
BioBAT Art Space is the first exhibition space in New York City that is entirely dedicated to the intersection of Art and Science. Their inaugural art exhibit, ‘Spontaneous Emergence of Order’ features four interdisciplinary artists who create works based in science and technology.
Spontaneous emergence of order is a form of self-organization out of seeming chaos, the organic forming of systems mastered by no one person or thing, but the unfolding, natural order of a collective of events and actions. The four artists in this exhibit are sifting through this ordered chaos and creating their own new order based on their findings. Whether their interest is in the biological or the technological their artworks are all connected through the messiness of life itself and our connections to the natural world.
Epicurean Endocrinology’s latest project, ‘Cooking Sex’, is a series of sex-hormone altering meals and food products that explore the endocrine-system altering properties of industrially produced food.
Byron Rich is an artist, professor and lecturer. His work on speculative design, tactical media ecology, and emerging technologies in biological science, computer science, and transportation, has been widely shown and written about internationally.
Liz Flyntz is a curator, information architect, artist, and writer. She is the co-editor and co-author of ‘The Present Is the Form of All Life’, a book about the time capsule works of media art and architecture group Ant Farm.
For over 40 years, Diane Burko has investigated monumental geological phenomena. Her practice at the intersection of art and science focuses on issues of climate change. Originally basing her imagery on research and visual data from scientists, she soon moved to bear witness directly in the Polar regions. In her painting projects such as ‘Politics of Snow’ and ‘Polar Investigations’ she explores visual strategies, translating data into imagery.
“When you are looking closely at the world it is impossible not to see damage and – if you have some understanding of what you are looking at – absence, so increasingly my work is motivated by the catastrophic impact of human actions on the natural world. I am inspired and appalled in equal measure by what I see around me.”
Emma Tuck’s work is informed by natural forms and patterns, refracted through the psychological, the political and the trivial.