Existing on the Science Art Interface

I exist on the interface of experimentation and discovery, imbuing my art with science and curiosity that reflects my evolving self and place in the world.

 

I long believed that I, as a scientist who values quantitative data and excel sheets, could never be an artist. I – who found more comfort in the written word than the paint brush; in the laboratory than in the gallery – could never create art. I – who could not draw or paint – isolated myself from my own creativity.

 

Enter: glass.

 

This dynamic medium has exposed an ownership of self and defiance against the arbitrary structures I long and unnecessarily trapped myself within. I am both scientist and artist – creator and experimentalist – for they cannot exists without the other. It is through this blending of disciplines and redefining of my own self-image that I find my inspiration and artistic process.

 

I gravitate towards analytical interrogation of self within the chaos of science, society, and perspective. My work is very contextual, drawing from the many skins I must wear and shed depending on the environment I find myself in. I explore the interplay of light, colour and perception on the observers view to imbue my pieces with a sense of temporal dynamism. Cross-disciplinary work is highly valued in my field of microbiology, and so I embrace this philosophy in my art through the utilization of different mediums and methodologies.

 

Eddies of science and discovery run deep within my work. I use simple representations of complex scientific ideas to involve the observer in my examination of self and experimentation with fact. My work is firmly rooted in mutual connectivity, forming an interface between the observable and the philosophical, as I attempt to better understand myself.