Unseen/seen—the duality of nature
Arts and Medicine
The landscape of congenital heart disease
Biomorphic garden party
Art under the microscope
Lost tribe, limited edition digital photographs of last of his tribe toads. (16”×24” or 20”×30”, 12/2012. Photographer: Dan Kvitka).
The chrysanthemum 1, Xuan paper.
LABYRINTH, Salt, 5 m ×14 m, Making Mends/Bellevue Arts Museum, USA, March toMay, 2012.
Jabulani Arts is a social enterprise founded by a group of talented young artists in Fort-Portal, Uganda, teaming up with development organizations including the Kabarole Research and Resource Centre and the private sector
This series of paintings are intended as a unique combination of medical illustration and classical figurative painting, showing the human form with swaths of anatomical underpinnings
In the series of sculptures titled “Synaptic Incubations of Another Kind”, Olga Alexander references biological systems.
Title: Small Worlds (detail II); materials: styrofoam, copper, wood; dimension: 3'×3'×3'; year: 2012.
The Human Element Project is a consortium of artists, scientists, educators and students who develop thought-provoking art installations that make powerful social statements about the connection between art and science.
Being uncomfortable in one’s own skin is an imminent passage from childhood to adulthood. But sometimes these perceptions become engraved in our identity, and the remnants of discomfort become part of our daily lives.
I find the heart to be one of the most fascinating organs in the human body because of the complex interplay between muscular activity and electrical coordination.
These works reflect on the ever-diminishing gap between engineering and medicine. “An Engineered Humanity” highlights ideas of regeneration, biocompatible prostheses, and micro implants.
This body of glass work has been developed since 2004. Made to contemplate the global impact of each disease, the artworks are created as alternative representations of viruses to the artificially coloured imagery we receive through the media.
Regina Tumasella was born amidst the soft grandeur of New York’s Catskill Mountains and has always been attuned to the natural world. A MICA graduate whose paintings were featured in a recent New York Times profile of the Baltimore art scene (http://www.nytimes.com/slideshow/2010/09/23/travel/20100926-SURFACING-2.html) her paintings clearly recall landscapes while remaining almost wholly abstract.
Cleveland, Euclid Avenue (Figure 1) is a painting in acryl colour on canvas in the scale 120 cm × 160 cm, made in 2007.
Ever since my father took me on my first walk in the woods, I simply felt ‘at home’. Since then I have loved to capture photographs of the details in nature, especially the abstract … looking “into” a flower or tree.
Are people really seeking to understand the artist himself - the who, the how, and the why? Do they want to connect with the way an artist perceives and interprets reality and thus creates a new reality. What if their questioning is not as much with regard to the result but the reason of creation?
I have no intention giving any explanations to specific pieces of mine but feel that it might be noteworthy to explain the way I call them to life.
At the art academy of Trier, a college lecturer almost disbelieved my facing an empty canvas and not having a vision of what I intend to paint, until he saw and encouraged my working process. What he did want me to do though is work in series for the benefice of evolution.
The annual Harbin International Ice and Snow Sculpture Festival (Chinese: 哈尔滨国际冰雪节) has been held with interruption since 1963.
Harbin, the capital of Heilongjiang province in Northeast China, is under the direct influence of the cold winter wind from Siberia. The average temperature during the winter is -16.8 degrees Celsius, and it can be as cold as -38.1 degrees Celsius.
Sarah Morris (b. 1967 –London). Morris has been internationally recognized for her complex paintedabstractions and films, which are derived from the close observation of thearchitecture and psychology of urban environments. In her paintings she uses colorsand geometries that she associates with a city’s unique aesthetic vocabularyand palette, as well as its character and energy. Her main interest has beenreserved for major cities and the industries, activities and behavior therein.As a result of their particular cultural, commercial, and political conditions,the cities’ appearances differ markedly, and she treats each as aself-referential system. The artist creates a montage of scenes from everydaylife, distinctive architectural features and media images that reflect theofficial image of each city, and arranges them in a rhythmically editedsequence.