Art and science are more similar than they are different. Artists and scientists use similar methods or habits of mind such as theory testing (concept/hypothesis, trial and error), flexible purposing (ability to shift aims while working), and weighing alternatives (the ability to see things from multiple perspectives). Furthermore, artists and scientists explore various organic and synthetic materials and change their properties or qualities to create something new. In today’s volatile climate, where science and the humanities are eschewed in favor of ‘alternative facts,’ artists can fight back by presenting awe-inspiring work that unites disciplines such as science, technology, and history. There is a lot of potential for the artist and scientist to collaborate inside and outside of the studio or laboratory. Additionally, when scientific research is presented in the form of an art project (such as Love Motel for Insects), it humanizes the data and communicates an empathetic message that is accessible to everyone in the public sphere.
The common thread between the artists discussed in this post, is their use of organic and inorganic mediums as a vehicle for promoting a conversation about our relationship with the world and our fragile existence within nature. Referencing their knowledge and research of biology, ecology, medical science, climate science, and social history, their artwork is a visual metaphor for the paradoxical conflation of the human made and natural world. Juxtaposing organic materials and phenomena with synthetic art materials and processes, contemporary artists: Vanessa Albury, Nene Humphrey, Kristen Holcomb, and Jordan Eagles, explore the association between the body, mind, and the environment. At large, these works of art present aesthetic reflections of mortality, spirituality, and scientific inquiry.
Vanessa Albury’s photographs take glacial ice-caps in the Arctic Circle as subject matter. Her series Arctic, Future Relics, which was realized during a residency in Svalbard, Norway, documents the melting of glaciers due to climate change. The ephemeral essence of these glaciers are memorialized in time through the photographic process. Ghostly in their aesthetic form, these epic photographs capture the essence of these majestic ecological forms throughout the process of decay.
In her series of layered drawings created by using high-powered microscopes, Nene Humphrey explores the connection between aesthetics and the deep cellular workings of the amygdala where our emotions reside. The resulting images are intimate artistic expressions of our psyche that deals with themes of loss and mourning.
Jordan Eagles ‘paints’ using animal blood mixed with multiple layers of clear resin. His unique style of work came about through rigorous theory testing and trial and error. He incorporates gradations of “aged blood” that create various deep black fields in stages of decomposition and illuminates the consistency and texture of the blood. These abstract works of art can resemble other natural and synthetic imagery such as Rorschach inkblot test patterns, magnified biological cells, and lava. The work explores how we think about our bodies and address issues of mortality.
Similarly to Vanessa Albury, Kristin Holcomb observes nature taking its course and captures the transformative process through the lens of her camera. Her abstract photographs are of surfaces of walls after years of being changed by weather, paint, rust, and algae. The walls themselves become complex, organic or synthetic ‘paintings’ with the passing of time. The Transformations series of photographs are about rebirth and the possibility of beauty in destruction.
The aforementioned artists are just a few inspirational examples of how art, science, and technology can have a symbiotic relationship and result in strong inter-disciplinary learning capabilities. Having students reflect and respond to their natural surroundings through art is a good way for them to develop a lifelong thirst for knowledge and become more environmentally and socially conscious.