Ryota Matsumoto is a principal and founder of an award-winning interdisciplinary design office, Ryota Matsumoto Studio. He is an artist, designer and urban planner. His artwork reflects the morphological transformations of our ever-evolving urban and ecological milieus, which could be attributed to a multitude of spatio-temporal phenomena influenced by social, economic, and cultural factors.
On a bright, still December day author, artist and poet, John Moat, meditates on the connection sea, streams and fountain have with the Imagination and the Sacred… and much more.
Lindsay Clarke’s working life has been devoted to his two principal passions, writing and education. In both contexts he has tried to put the power of the creative imagination – in both its inventive and compassionate aspects – into the service of the radical evolution of consciousness, which he believes is seeking to happen in these transitional times. His first novel ‘Sunday Whiteman’ was shortlisted for the David Higham First Novel Award; his second ‘The Chymical Wedding’ was awarded the Whitbread Prize for Fiction in 1989; and his novel ‘The Water Theatre’ was longlisted for the IMPAC Dublin International Literary Award. ‘Green Man Dreaming’, a collection of Lindsay’s essays, talks, poems and occasional pieces, was published in 2018,
The exhibition ‘Borderlines’ gives form to the conceptual, geo-political, economic and cultural impacts of borders. It draws attention to the ownership of the earth beneath our feet, the UK border in Ireland, tribal territories, anarchic polar exploration and the world-wide distribution of natural resources.
Dana Simmons is a neuroscientist, science-artist, and medical writer in Chicago. While at the university, Dana transformed Purkinje neurons into art by testing the limits of confocal microscopy and adding an artistic touch. She is endlessly fascinated by the beauty in the brain and the patterns that are ever-present throughout microscopic and macroscopic nature. In 2016 she received the Passion in Science: Arts & Creativity award from the New England Biolabs.
Nicholas Wiltsher is a philosopher, working on imagination, philosophy of mind, aesthetics, phenomenology, and feminist philosophy. He is currently a Marie Skłodowska-Curie Individual Fellow in the Centre for Philosophical Psychology at the University of Antwerp. In this exclusive interview he discusses his ideas on the relationship between philosophy and the imagination.
Inspired by an aesthetic in which art, science, medicine and ecology intersect, Elaine Whittaker’s art practice considers biology as contemporary art practice. Based principally in installation, sculpture, painting, drawing and digital imagery, her artworks incorporate a range of materials: from the traditional, such as paint, pigment and wax, to the unconventional, such as mosquitoes, salt crystals, cells and live microorganisms. They have been exhibited nationally and internationally, in art and science galleries, and featured in literary, medical and art magazines, including William Myers’ book, Bio Art: Altered Realities (2015). In this article she reflects on Contained, her 2018 exhibition, and the effects of illness on identity as experienced by her mother when she contracted Tuberculosis at an early age.
Matthew MacKisack is a cultural historian and a Postdoctoral Research Fellow at the University of Exeter Medical School. He has published numerous articles in intellectual and cultural history, focusing on how imagining and imagination have been employed and understood.
Christopher Henshilwood holds a 10 year South Africa National Research Foundation funded Research Chair and Professorship at the University of the Witwatersrand, South Africa. He is also the Professor of African Prehistory in the Archaeology, History, Culture and Religion Institute at the University of Bergen, Norway.
Karen Loise van Niekerk is an archaeologist working on Middle Stone Age sites, specifically Blombos Cave and Klipdrift Shelter, in the southern Cape, South Africa.
“I am an emerging artist living in Cambridgeshire. Due to circumstances involving one of my children and a traumatic brain injury, I began my current practice as a way to cope with the neurological rehabilitation that has consumed family life. This experience feeds heavily into my artistic process.”
Katherine Gravett has worked in collaboration with neuroscientists in Cambridge and her work has been exhibited in artistic, scientific and therapeutic settings.