Share your thoughts on the... 2025 Met Gala!
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As a sculptor, my work has centered on exploring the juncture between art and science: a place where the imagined meets the real - or the conscious meets the subconscious. I am particularly interested in creating imaginary hybrids - ambiguous new versions or mutations of the "natural" that are both unpredictable and unsettling. This ambiguity of form, gives rise to conflicted feelings of curiosity and alarm by highlighting the duality of nature's allure and potential threat, and allows me to explore our inherent distrust of the unknown, our perceptions of mutability, and our perceived vulnerability in the face of genetic experimentation.
My most recent work has evolved through experiments with a thermoplastic product originally developed by the medical industry for orthopaedic applications. This material is light, strong, and versatile and allows me to work directly to hand-form multiple elements that combine to form large-scale installations. This series harnesses light and shadow to create dreamlike environments of other-worldly forms, while referencing deep-sea flora, microscopic cellular organisms, and the sustaining system of veins, nerves, vessels, and roots that support life. I am currently in the process of augmenting these environments by incorporating sprung steel wire to give added sculptural form and definition to each element. The latest addition to the Hanging Garden series - a floating carpet of hybrid forms that hang just above the viewer's head - aims to create a sensation of being submerged and elicit a physical and psychological response from the viewer.
This series harnesses light and shadow to create dreamlike environments of other-worldly forms, while referencing deep-sea flora, microscopic cellular organisms, and the sustaining system of veins, nerves, vessels, and roots that support life.
elegant, suggestive, and clarifying, lewis thomas's profoundly humane vision explores the world around us and examines the complex interdependance of all things. extending beyond the usual limitations of biological science and into a vast and wonderous world of hidden relaitonships, this provocative book explores in personal, poetic essays topcis such as computers, germs, language, music, death, insects, and medicine.
Leopold and Rudolf began the process of creating their replicas by making highly detailed drawings: many of which are now archived in the Rakow Library at the Corning Museum of Glass in the US. Their techniques and equipment were fairly basic. Each exquisitely intricate model was made by fusing or gluing clear and coloured pieces of glass using a combination of glass blowing and lamp working. Tentacles and gills were attatched on fine copper wires and, where necessary, paper and wax were used too.
The Blaschkas were equally meticulous in the way their approach to decoration. The translucence of jellyfish was replicated by using finely speckled layers of pigment usually on the underside of the glass. Thicker coats of paint, sometimes mixed with powdered glass, were used to depict thicker skin or textured surfaces. Although they both worked on every apsect of their replicas, Leopold tended to prefer working with the larger pieces of glass and to concentrate on assemby; while Rudolf enjoyed the fine details of intricate work and did more of the painting and decoration.
'grown' in a tank by computer-controlled laser beams. The process, irreproducible by any other means, is invisible and gives the impression that the object is actually manifesting before one's eyes. The result is a series of objects (such as labyrinthine spiral vases and stalagmite-like bowls) so strange it seems to have fallen straight from Mars. Arad explains, "The more mathematical and scientific that object becomes, the more artificial it becomes–incredibly–the more organic it becomes."
travolta said:i like these