Lia Pas is a multidisciplinary artist who works in image, text, and sound exploring body and states of being. She was an active composer/performer and poet/librettist until 2015 when she became disabled with ME/CFS. Since then her work has focused on fibre arts and writing with some small forays back into music. Her symptomatology and anatomy embroideries have been featured in numerous online publications and are part of the SK Arts permanent collection.
Fulcrum Arts is pleased to present Sam Shoemaker: Mushroom Boat, a collection of works developed in relation to the artist’s August 2025 crossing of the Catalina Channel in a kayak made of mushroom mycelium. The exhibition’s central feature is the mushroom boat itself, which was built by the artist and stands amid the artifacts of its development, including extensive documentation of its fabrication, testing, and eventual use on open water.
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 ‘We Contain Multitudes’ he shows some his recent work.
This paper investigates the interplay of chaos and order in evolutionary biology, cell biology and the visual arts. It argues that creativity in both natural and artistic systems arises from a productive tension between these two principles. The study introduces a collaborative art project in which a robotic drawing machine and a human painter co-created works, embodying order and chaos respectively. By drawing parallels between mutation and repair in biology, dynamic processes in physics, and compositional strategies in art, the paper highlights chaos and order as universal design elements across disciplines.
‘Constant’, an AI film by Danny Ratcliff, follows Bailee from childhood through motherhood, chronicling her lifelong relationship with an AI companion. Beginning with Bailee’s birth in 2023. The narrative explores how trust with artificial intelligence, established early and nurtured over time, can become a cornerstone relationship. While some in our culture remain skeptical of AI technology, Bailee’s story represents what’s possible when a relationship is built on genuine partnership rather than fear of technology. The film culminates with Bailee introducing her five-year-old daughter Natasha to her AI companion, passing down the same trust that shaped her own life.
‘Perceiving Reality: The Enthalpy of Existence’ traces a decade long investigation by British artist Alexander James Hamilton into the behaviour of light, matter, and perception as thermodynamic systems. Spanning the Siberian projects ‘Oil + Water’ (2013–2016) and ‘Empirical Research & Evidence’ (2021–2023), the work unites scientific observation with aesthetic consciousness. Through analogue photography and sustainable material practice, Hamilton visualises entropy, equilibrium, and environmental change as intertwined conditions. The resulting corpus proposes that perception itself functions as empirical instrument: a form of energy exchange in which to observe is to participate in creation.
Elay Shech is Professor of Philosophy, Auburn University.
Elay Shech is interested in philosophy of physics, philosophy of science, philosophy of mathematics, and history of philosophy, as well as issues in biomedical and environmental ethics. His work primarily concerns the nature and role of idealizations and representations in the sciences and, more specifically, in condensed matter physics.
Michael Watkins is Professor of Philosophy, Auburn University.
Michael Watkins earned his PhD from The Ohio State University. He has taught at Auburn for the past 20 years, during which time he has also held adjunct and visiting appointments at Dalhousie University in Canada, the University of Rijeka in Croatia, and Cornell. He publishes in metaphysics, philosophy of mind, aesthetics and ethics, with special interests in philosophical problems related to color, perception, and objectivity. He is a past Lanier Professor.
Through the lens of a stem cell clinic in the year 2135, ‘In Petri Dish We Sing’ envisions a world where embryonic stem cells (ESCs) become a raw, sustainable material that forms the very fabric of the city’s infrastructure. Inspired by MIT’s research on the Lemon Skin Chair and Yarli Allison’s exploration of the healthcare system and gender health gaps, the film envisions a society reconstructed from this regenerative substance, one that carries the traces of cellular memory.
At the heart of ‘In Petri Dish We Sing’ are three intertwined lives: the healer, inspired by Yarli’s uncle, who left his prestigious gynaecology career to return to inherited ancient healing practices that Western medicine cannot identify; a granny who, at 79 wishes to be pregnant again, made possible by stem cell echnology; and a grieving man who uses his late loved one’s stem cells to grow furniture. Their encounters unfold within the speculative infrastructure of a stem cell clinic, where care and repair could be reimagined.
NastPlas are an international artistic duo formed by Fran R. Learte and Natalia Molinos.
“We explore the relationship between humans and the natural environment by merging advanced technology with handcrafted processes. Combining digital tools such as artificial intelligence and 3D modeling with traditional techniques like ceramics, we create hybrid pieces that bridge the digital and physical worlds.”
Joël Chevrier has been a Physics Professor at Université Grenoble Alpes (UGA) since 1998. This article discusses artist Martyna Marciniak’s work, ‘Anatomy of Non-Fact’, which uses images moving from optical images (photography as it comes out XIX century) to non-optical images or synthetic images as generated by AI.