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.
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.
“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.
Amanpreet Badhwar is currently a postdoctoral fellow at the Centre de Recherche de l’Institut Universitaire de Gériatrie de Montréal (CRIUGM), Université de Montréal , where she works on Alzheimer’s disease (AD) and related dementias. Her research combines structural and functional imaging with clinical and genetic assessments to relate variations in brain connectivity to clinical status, and to develop early markers of AD pathology. She is also an artist. In this exclusive interview she discusses her relationship between art and neuroscience.
Shanthi Chandrasekar is a multimedia and multidisciplinary artist with a BSc in Physics and an MA in Psychology. The underlying focus of her work is to understand the workings of the cosmos and life itself, with a particular fascination for the workings of the brain. She has also been trained in the traditional art form Tanjore Style painting. While many of her works are influenced by her Indian heritage, her true inspiration comes from the mystery and majesty of the world around her; her muse lives where the scientific overlaps with the spiritual.
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.