Tag Archives: Nature

Drawing and Climate Change

The inspiration for Zaria Forman’s drawings began in early childhood when she traveled with her family throughout several of the world’s most remote landscapes, which were the subject of her mother’s fine art photography. In August 2012 Forman led Chasing the Light, an expedition sailing up the NW coast of Greenland, retracing the 1869 journey of American painter William Bradford and documenting the rapidly changing arctic landscape. She continues to address climate change in her work. Recent achievements include participation in Banksy’s Dismaland, speaking at a live TED event at the Town Hall Theater in NYC, and a solo exhibition at Winston Wächter Fine Art in New York in September and October of 2015. In this exclusive interview, Zaria Forman discusses her drawings and her artistic role in communicating climate change.

Rhythmic videos (blog link)

Rhythmic videos (blog link) featuring Russell Foster: The Rhythms of Life – What your body clock means to you from eye disease to jet lag ; Phillip M Gilley: Brain Rhythms ; Bernie Krause: The voice of the natural world ; Clayton Cameron: The Brush Master ; Anje-Margriet Neutel: Feedback loops: How nature gets its rhythms ; and Sabina Sandoval: Celebrating the rhythms of life by being in the pocket.

Rhythmic videos

Rhythmic videos featuring Russell Foster: The Rhythms of Life – What your body clock means to you from eye disease to jet lag ; Phillip M Gilley: Brain Rhythms ; Bernie Krause: The voice of the natural world ; Clayton Cameron: The Brush Master ; Anje-Margriet Neutel: Feedback loops: How nature gets its rhythms ; and Sabina Sandoval: Celebrating the rhythms of life by being in the pocket.

NanoArt – Atomic / Molecular Sculptures and Landscapes

NanoArt is a new art discipline at the art-science-technology intersections. It features nanolandscapes (molecular and atomic landscapes which are natural structures of matter at molecular and atomic scales) and nanosculptures (structures created by scientists and artists by manipulating matter at molecular and atomic scales using chemical and physical processes). The work of Cris Orfescu, an artist and scientist, is a reflection of this technological movement.

Metamorphoses in Art & Science

In 2010, bio-artist Sarah Craske stumbled upon a very early English translation of Ovid’s Metamorphoses in an East Kent junk shop. It dated from 1735, and in its nearly 300 years of existence it had passed from reader to reader, picking up layers of biological history (bacteria, viruses, skin cells). Uncovering the invisible from its pages, Metamorphoses in Art & Science develops shared ways of working in new & emerging fields, through the collaborative inter-relationships between the sciences, arts & humanities.

Exploring the Invisible

For nearly 10 years, Simon Park, an internationally recognised molecular microbiologist, has worked at the fertile intersection between art and science. As well as collaborating with artists, he also produces his own work, his practice being inspired by the aesthetics and processes of the usually invisible microbiological world. He recently won the Peter Wildy Prize for his outstanding outreach work in microbiology.

The Greening of the Galaxy

Suzanne Anker is a pioneer in BioArt, working at the intersection of art and the biological sciences. Her fastidious experimentation in a wide array of mediums and subjects, ranging from digital sculpture and installation to large-scale photography to plants grown by LED lights, is an effort to push at the boundaries of BioArt and is an incitement of fearlessness and tenacity in the creation of scientific artworks. In The Greening of the Galaxy she presents images and objects that speak to the 21st century.

On Theme and Variation

The ways in which the author, the sculptor Peter Randall-Page, has made use of the ideas of D’Arcy Thompson are described. How Thompson showed that commonalities of form and pattern exist across the biological and abiotic realms is described, and the implications that physical constraints limit and sometimes dominate the capabilities of evolutionary natural selection are explored. Since we evolved in a world shaped in this manner, the likelihood that this palette of forms is one that carries strong psychological meanings and associations is examined, and the ways in which these forms are a rich source of inspiration and allusion for visual artists are discussed, hinting at the play of opposing tendencies, the dance between order and randomness, and the ways in which nature can derive variations on a theme.