Lucinda Burgess’s background in painting, landscape design and oriental philosophy has led to a fascination with the raw elemental qualities of materials and inform a sculptural practice that accentuates the reality of constant change, undermining the idea of a fixed thing, object, entity or identity.
During a residency at the University of Birmingham working with award winning particle physicist Professor Kostas Nikolopoulos in 2017 artist Ian Andrews made transformational changes to his practice creating the project ‘The Sketchbook and the Collider which seeks to establish equivalents between the interaction of fundamental particles and the language of drawing. He has since delivered 16 exhibition/events and 40 workshops, including a solo exhibition at the Forum Exposition Bonlieu, Annecy, France in October 2022, following which Ian was invited to talk at the International Particle Physics Outreach Group 25th annual conference at CERN in Geneva.
Tessa Campbell Fraser is a British painter and sculptor based in Oxfordshire UK. Born in Edinburgh, she studied at Chelsea School of Art and afterwards established herself as one of the country’s leading animal artists. Her exhibition, ‘Whales- a Deeper Dialogue’ seeks to unravel the interspecies communication between man and animal that is currently a hot topic in scientific research.
Pascale Pollier’s work attempts to capture the point where art and science meld. An alchemist at heart, her work begins with observation and experimentation, and is steeped in solid scientific research and findings.
Her inspiration is drawn from observing the internal and external human body in all its diversity, life and nature in all its beauty, strength, fragility, disease, mortality, immortality and death. New technologies and philosophies, quantum physics, nanotechnology, animatronics are amongst her interest and are important in her work.
Chantal Pollier is a visual artist who prefers to work with stone. (and in wax, glass, drawings, and photography) All her work holds references to temporality and transience. Many are rooted in science, with a particular interest in geology, biology, anatomy and morphology. The way in which collaborating artists and scientists can enter each other’s territory, and the extent to which they can thereby add new dimensions to both their own work and that of their partners, leads to refreshing perspectives.
Julian Voss-Andreae, a German sculptor based in Portland (Oregon, USA) is widely known for his striking large-scale public and private commissions often blending figurative sculpture with scientific insights into the nature of reality. His sculptures are frequently shown at international art fairs and galleries and can be found in major collections all over the world. Voss-Andreae’s work has been featured in print and broadcast media worldwide and videos of his sculpture have gone viral with tens of millions of views. His expertise in diverse fields of science and a deep passion for the mysteries of the world have been a continual source of inspiration for his work.
Laura Jade is a contemporary Australian artist exploring how BCI technologies can offer new forms of expression to interface with the mind aesthetically. She is the creator of Brainlight, an artwork that integrates biology, lighting design and BCI (brain-computer interface) technology into an interactive brain sculpture, lasercut from transparent perspex and engraved with neural networks. The installation is controlled with a wireless EMOTIV EPOC+ EEG headset which detects and outputs live neural activity, translating electrical signals from the user’s brain, into a vivid and dynamic light display within the brain sculpture. In real-time Brainlight visualises the brain frequencies of theta (3.5–7.5 Hz) as green light, alpha (7.5–13 Hz), as blue light and beta (16–32 Hz) as red light.
The art of Marcel Duchamp is notable for its thematic repetition, notably that of Eros. The infinity symbol, ∞, is a more specific throughline, appearing in works by or associated with Duchamp from 1921 onwards. The concept of infinity has three primary applications: the mathematical, the physical, and the metaphysical. With respect to Duchamp, the authors analyse mathematical applications via the Möbius strip and Klein bottle. They investigate physical manifestations of infinity via Duchamp’s La Bagarre d’Austerlitz (1921) and Anémic Cinéma (1926). The infinity symbols in a diagram representing Adam and Eve developed with Georges Bataille, published in Duchamp’s satirical journal ‘Mémento Universel Da Costa’ (1949), serve to clarify metaphysical aspects. For Marcel Duchamp, creativity was Erotism, a psychological and spiritual quest for continuity, infinity.
Maria Medina-Schechter (born Pasadena, California, 1976), is a bio artist whose work is informed by the natural world, including Middle Age illuminated manuscripts, scribes, and recipes. She is inspired by Hildegard of Bingen, a German mystic of the High Middle Ages. Maria works primarily with bio materials, mycelium, tree resin, and foraged botanical materials. Her early work involved the use of living organisms, such as bacteria and fungi, as art materials, creating sculptures and installations that were alive and growing. In the 1990s, she began to integrate digital technologies into her work, exploring the relationship between virtual and organic.
Lindsay Olson’s artistic practice grows out of an intense curiosity about the ways our society is supported by science and technology. She has worked as Fermi National Accelerator’s first artist in residence, with the CMS experiment at CERN in Switzerland, with the Metropolitan Water Reclamation District of Greater Chicago, the Field Museum, the Chicago Botanic Garden and with the Center for Acoustics Research and Education at the University of New Hampshire.
In 2022/24, she worked as the first artist in residence with The Wetlands Initiative, a scrappy wetland restoration group working in the Midwest,USA.