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.
Bill Viola is a seminal figure in the field of video creating installations, films, sound environments, flat panel video pieces and works for concerts, opera and sacred spaces for over four decades. Viola uses video to explore the phenomenon of sense perception as an avenue to self-knowledge. His works focus on universal human experiences and have roots in both Eastern and Western art as well as spiritual traditions, including Zen Buddhism, Islamic Sufism, and Christian Mysticism. Using the inner language of subjective thoughts and collective memories, his videos communicate to a wide audience, allowing viewers to experience the work directly, and in their own personal way.
Cryptic 2017 examines the relationship between art, science and technology, and features artworks that use technology and science variously as medium or message. Explore digital and kinetic interactive artworks, virtual reality, and mixed media installations, all set in the idiosyncratic spaces of the Crypt Gallery, London.
The sculptures of the series “Affective Accidence” are a kind of solidified emotions. The organic and synthetic materials shape in their layers the crusts of power of the human cerebral reactions to the internal or external stimuli. The forms are based to the data provided by 3D fMR brain scanning and some testimonials […]
“Over the past decade, I have been exploring the links between science, photography and philosophy. This body of research has involved collaborations between myself and a number of scientific institutions. In this article, I will share a number of collaborations with a number of scientific institutions that have led to developments in my own research, and further afield.”
Melanie King is an artist and curator with a specific focus on astronomy. She is co-Director of super/collider, Lumen Studios and the London Alternative Photography Collective. Melanie is currently studying towards a practice based PhD in Fine Art at the Royal College of Art.
Kon Markogiannis is an artist with an interest in spirituality and the evolution of consciousness. By manipulating the photographic medium he is able to develop a personal and simultaneously transpersonal language which negotiates between subjective art and the photographic document.
For more than 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. In 2015 he won the Peter Wildy Prize for his outstanding outreach work in microbiology.
Featuring – Zaria Forman: Drawings that show the beauty and fragility of Earth ; Al Gore: The Case for Optimism on Climate Change ; Satish Kumar: Soil, Soul and Society ; Sam ‘Ohu Gon III: Lessons from a thousand years of island sustainability ; Tega Brain: Eccentric Engineering: Thoughts for the Anthropocene ; and Francesco Sauro: Deep Under the Earth’s Surface, Discovering Beauty and Science.
Solveig Settemsdal is a Norwegian multi-disciplinary artist working across mediums including sculpture, video, photography and drawing. Her practice investigates fluidity and the potential and transience of materials, be it sculptural, geological or cognitive. She is interested in how ephemeral objects can reveal processes otherwise hidden, such as how geological time can be compressed into an observable time frame. She recently won the Jerwood Drawing Prize for her video piece Singularity (2016) and is currently studying for an MFA in Sculpture at the Slade School of Fine Art.
This essay introduces two recent exhibitions and examines the origins of ArtScience in relation to the nineteenth century’s transition from representation to abstraction. While that progression was a seminal step in art history, the author proposes that a no less seismic impact resulted from its spatial reorientation – from expressions structured in pictorial imaginary space to those structured in actual, real space. That realignmnt echoed what science had been incrementally doing for four hundred years, by replacing fabricated comprehensions of reality with concrete ones – and in the process, shifting ontological and epistemological dispositions away from the supernatural and toward the natural.