Suzanne OConnell is Professor of Earth and Environmental Sciences, Wesleyan University. She studies Antarctic paleoclimate using marine sediment cores from IODP (International Ocean Discovery Program). This is to understand how Antarctica has changed in the past, information that will help researchers to understand and model future climate change. Her current research focuses on Antarctic climate change using sediment cores from the Weddell Sea, Ocean Drilling Program (ODP) Leg 113. She has authored or co-authored over 60 refereed publications and edited the JOIDES Journal as well as ODP Initial Reports and Scientific Results. In 2015, she co-edited and co-authored the book “Women in the Geoscience: Practical, Positive, Practices Toward Parity”
When photography captures the Earth’s topography, vegetation often obfuscates the fine details. Light Detection and Ranging (LiDAR) allows the solid surface to be viewed in a new light. I have applied LiDAR technology to research the “Carolina bays”, ovoid basins found by the tens of thousands in the USA.
Layla Curtis is an artist whose practice has a focus on place, landscape and mapping. Her multi-form work examines the attempts we make to chart the earth, how we locate ourselves, navigate space and represent terrain. She explores the ways in which we perceive, make use of and interact with the spaces we inhabit. Often she seeks to understand place by examining its connections with elsewhere.
Lordy Rodriguez’s works explore the human urge to locate/define oneself by charting the environment in precise detail. Using the language of cartography, he makes drawings that go beyond map-making into abstracted, imaginary terrain.
Shannon Rankin is an artist who uses the language of maps to explore the complexities and interconnections between the inner and outer worlds, between that which is known and that which remains beyond the field of knowledge, that mythical place on medieval maps where the dragons lie and cherubs blow the wind. The duality of our human capacity for imagination and reason, for creation and destruction, for being of nature and apart from it, is a rhumb line that courses through her work.
Featuring – Daniel Eisenstein: Mapping the Universe ; Danny Dorling: Maps that show us who we are (not just where we are) ; Monica Stephens: The Frightening Future of Digital Maps ; Aris Venetikidis: Making sense of maps ; and Amy Robinson Sterling: Play a game, map the mind.
Chris Kenny’s three-dimensional collage-constructions have been described as ‘witty, severe, paradoxical things, appearing at once rational and also deeply surreal’. In his ‘Mapworks’, he uses the colours of his materials in an almost painterly way, and says that he replaces “the cartographer’s logic with an absurd imaginative system. The roads float and interact in unlikely combinations that allow one’s mind to ricochet back and forth between disparate locations and associations.”
Cartography, methods of visualizing information, history, current events, satire and humor are some of the subjects that captivate Dan Mills. He began to incorporate maps into his work in the early 1990s while exploring the quincentennial of what is euphemistically referred to as The First Encounter. Since then, he has made series about history and colonization in painting/collages on large roll-down school maps that explore imperialism by creating an atlas reconfiguring the world, about loss in history through erasure and overpainting maps, and that use maps as a space to visualize data about wars and conflicts.
Driven by her desire to “know the world,” Ingrid Calame has been tracing the marks on its surface, turning them into intricate paintings, drawings, prints, and murals, for nearly 20 years. As she explains: “the idea was that the whole surface of the world is a potential drawing. I can’t trace the whole world, so I’m tracing a fragment. I’m interested in how impossible it is for us to represent something as huge as the world.”
Stephen Walter’s drawings are a tangle of signs, words and images that draw the viewer into the artist’s intricate worlds. His work is crowded with today’s (sub)cultural symbols and obsessive tendencies; but it also celebrates traditional techniques, craftsmanship and Romantic notions of place.