Continuum Screenings - Denver, USA & Birmingham, UK

Continuum will be scrrening as part of the short films program at the IMERSA Fulldome Summit, Denver, US. There will also be a screening event at Thinktank Planetarium, Birmingham Science Museum.

Virus Ultrastructure

Computer generated visualisation of Herpes Virus by David Bhella, my principal contact at theMRC Virology Unit, Glasgow

Page created by David Bhella for the MRC website:

http://www.mrcvu.gla.ac.uk/research/bhellad/virus_structure.htm

Molecular Machines - a collaborative project between David and Artist Murray Robertson:

http://www.molecularmachines.org.uk/

Other pages on virus structure:

http://web.uct.ac.za/depts/mmi/stannard/linda.html

http://www.microbiologybytes.com/introduction/structure.html

Base Elements

I have been selected by Allenheads Contemporary Arts (ACA) for one of their Base Elements residencies. I will be continuing with my current line of enquiry, exploring connections between symbolic languages and imagery of science, mythology and spirituality.

During the residency I will be pursuing existing collaborations with scientists in the field of Virology at the Medical Research Council's virology Unit in Glasgow and spending time developing ideas for new work in Allenheads. Following an initial meeting with Alan Smith and Helen Ratcliffe (founders of ACA) I am thinking of exploring the mining history of the surrounding landscape at Allenheads, in particular looking at the geometric crystalline structure of minerals mined in the area. I will visit nearby Killhope Lead Mining Museum which is home to the National collection of Spar Boxes, displays created by the miners to display Fluorspar and other minerals unearthed as the commercial byproducts (tailings) of lead mining.

Fear of the Unknown

At this point I know very little about viruses - I want to make this clear - if I'm a little bit off the mark scientifically speaking please bear this in mind. However, based on what little I do know - have read in newspapers articles, in New Scientist or the heavy books I have bought but not yet managed to fully get into - I find them fascinating. I am not sure where this fascination comes from, perhaps they spark an interest because of the inherent duality in their nature - with potentially destructive capabilities polarised by an innate beauty and possible role as healers in gene therapy. Perhaps because of the debate as to whether or not viruses should be classified as living organisms. This uncertainty in itself is fascinating and brings up a lot of questions about existence and belief. Perhaps it is simpler than this, perhaps it is a fear of the unknown. Having to place belief in science that there is another world all around us existing out of sight, a world of highly ordered, exquisitely symmetrical organisms, deadly in their simplicity. If viruses are the greatest threat to humankind in the 21st century surely we should know our enemy?

I will be working with structural biologist Dr David Bhella at the Medical Research Council's Virology Unit in Glasgow and with the Glasgow Science Centre during this initial 2-week period starting on the 8th December. This 2-week period has been funded by the Medical Research Council.

Chimera

Chimera 2008, Iroko hardwood, MDF, Perspex, brass fastenings, 24" LCD monitor, computer equipment and HD video (22 min, 40 sec), 103 x 65 x 52 cm

Specimen case by Mark Burns and Tony Wiles

Grimmer&Steele Trust - Sessions at Proximity Effect

Images from sessions at Proximity Effect, Plymouth Arts Centre - November 2008

Grimmer&Steele Trust meet a Care Package User in Plymouth Arts Centre ready for their Personalised Care Package:





The Personalised Care Package treatment room:

Grimmer&Steele Trust - Sessions at Proximity Effect, Plymouth Arts Centre

Are you a victim of your own over complicated emotional life?

The Grimmer & Steele Trust can help to provide you with a remedy.

We specialise in care enforcement, and can offer you a free perceptual augmentation session with the Trusts well-balanced carers. The session will provide you with a positive personalised package of sensory respite and reaffirmation - designed with you in mind.

Make yourself comfortable, relax and watch this...

Proximity Effect - The Grimmer & Steele Trust will help you to feel good about you!

Press Release -

29 November 2008 – 11 January 2009

You are invited to the opening event
Friday 28 November, 6.30–8.30pm
The exhibition opens with demanding performance by Leo Devlin curated by Red Ape, arm wrestling by Ray White and a performance by guests the Grimmer & Steele Trust, heralding the start of this daring programme.
ArtsMatrix and Plymouth Arts Centre are also supporting three artist-led projects in the city of Plymouth: Pilot, U:1 studios and new work by Café Concrete.

Exhibition
29 November 2008 – 11 January 2009
A series of performances, installations, videos and live music by visual artists from the city of Plymouth. The group is brought together for the first time, each with their own individual practice and curatorial experience, to consider the effect of their proximity to the city and each other.

Low Profile embark on a marathon performance: watching the entire 1st series of hit 1980s TV show MacGyver, back-to-back, cataloguing numerous ways of saving the day: rolling under doors, escaping burning buildings and fooling the guards.

Rooting contemporary music to locality and heritage, onec have invited bands and musicians to interpret songs of the sea for a compilation LP. Ray White creates an arm-wrestling forum in the galleries, alongside a relaxation room by the Grimmer & Steele Trust. Nick Grew, in collaboration with Heidi C Morstang, presents a new films, Grain Silo, featuring the erstwhile relic of Plymouth’s skyline. Marianne Torrance continues her research with people who share her passion for ecology, exploring art and marine science collaborations, in partnership with the Marine Biological Association and Plymouth City Council. Red Ape is an enquiry into the relationship between language and live performance. Curated by Mark Greenwood, the project explores issues around male identity and anxieties.

Curator Paula Orrell explains: "We have offered a selected group of artists the opportunity to curate/develop an exhibition in collaboration with Plymouth Arts Centre. The objective is to develop a critical space for the artists to examine their own context and offer up a broader understanding of their work. It encourages exchange and development of links between artists in the region, country and beyond, considering the current climate of the visual arts and the development of audience and profile within the city of Plymouth."

Chimera - Hybrid Specimen 1

The 5 body-landscape hybrids shown here as separate cycles and clips are combined to form the video component of Chimera (22 min. 40 secs.). The cycles follow the order indicated here on a continuous loop within the specimen case shown below. For the purposes of the blog they have been separated.

Time-lapse footage of cellular mitosis used with the kind permission of Susana Abreu Ribeiro at The Earnshaw Group, The Wellcome Trust Centre for Cell Biology, Edinburgh

Chimera - Hybrid Specimen 2

Time-lapse footage of cellular mitosis used with the kind permission of Alexey Khodjakov, Wadsworth Center, Albany, New York

Chimera - Hybrid Specimen 3 (clip)

Time-lapse footage of cellular mitosis - interphase used with the knid permission of Dr. Yuko Mimori-Kiyosue on behalf of Shoichiro Tsukita

Chimera - Hybrid Specimen 4

Time-lapse footage of cellular mitosis used with the kind permission of John Daum & Gary J Gorbsky

Chimera - Hybrid Specimen 5

Time-lapse footage of cellular apoptosis used with the kind permission of Susana Abreu Ribeiro at the Earnshaw Group, The Wellcome Trust Centre for Cell Biology, Edinburgh

Chimera - Specimen Case

Chimera specimen case constructed by Mark Burns (Burnie) and Tony Wiles, dimensions - 900 x 600 x 400 cm, constructed using Iroko hardwood, Perspex, brass fastenings, 24" LCD monitor and computer equipment.

This design had to be slightly modified by shortening the legs for the final piece.

Chimera - Production Stills

Up the Hill Backwards

Northumberland National Park is home to some of the most remote, uninterrupted, and unpopulated areas of land in the UK. It is a threshold space, a geographical and psychological borderland with a completely unique identity; it is a place of unquestionable beauty. My time in the park was largely spent alone, a sort of solitary release. The vast expanse of the landscape offers a rare opportunity, a time for silent introspection, a feeling of weight and weightlessness, perhaps a glimpse of your own mortality. It is something to do with space, the distant horizon and the big skies; you cannot help but ponder scale, your own existence and the connection you have to what is around you right now. The land seems to whisper to you…

The work I produced during my time in, on and with Northumberland National Park grew from a temporary symbiosis, from a relationship that began more like an infection - my own body as the foreign agent. Negotiating a relationship with the landscape takes time, and as certain systems and processes start to become clear, latent internal conflict becomes visible. It seems there are endless contradictions, a push and pull of opposites: timelessness and dynamism, natural order and the order imposed by man, to name a few. However, these opposites are held in perfect equilibrium, a balance between wilderness and control, an understanding that has developed through years of co-existence. Preservation of this delicate balance is explored in the works Chimera and Transhumation.

There is a profound relationship between the landscape and the body that transcends a singular definition. A hybrid of mythological, philosophical, scientific and spiritual connections must be considered. As my time in the park passed some of these connections were consolidated into a visual language of shared sets - bone and rock, layers that settle, cycles that blend together through time becoming part of a unified and balanced system. I explored the parks archaeological history as a way to communicate these connections, using traces of the body as source material. Though intact examples of human remains are rarely found in the park due to acidic soils I was able to work with archaeologists to examine human bones excavated from similar burial sites in the UK. Bones often ravaged by disease causing premature death or physical deformity, bones respectfully returned to the Earth which once provided life, completing a cycle. Working with scientists at the Wellcome Trust Centre for Cell Biology and the Centre for Life, further traces of the body were collected. I was able to study time-lapse footage of human and animal cell cycles, in essence, existence expressed in its most universal terms. A highly ordered symmetry of process shared by all living organisms within the park, an order that represents everything we endlessly struggle to control and are helplessly at the mercy of.

Acknowledgements:

I would like to thank: Dr William Earnshaw and the Earnshaw Research Group at the Wellcome Trust Centre for Cell Biology (Edinburgh) and Professor Charlotte Roberts (Durham University) for their contribution. I would also like to thank The Centre for Life (Newcastle upon Tyne), The Institute of Design Innovation (Middlesbrough), and the Northumberland National Park Authority for their support. Individual footage credits for Chimera: John Daum and Gary Gorbsky, Alexey Khodjakov, Susana Abreu Ribeiro, Shoichiro Tsukita and Yuko Mimori-Kiyosue.

Viral Portrait

Viral Portrait (manipulated digital image, 2008)

This is the first image produced from a body of works entitled Dark Matter. The works incorporate digitally manipulated external bodily features re-appropriated to create fictional micro/macro organisms. Using medical points of reference to create a visual distraction from the unnatural construction of the image. The images in the series are based around studies of viruses, bacteria and nano agents, things which are invisible to the naked eye, so small that they are almost incomprehensible. Organisms which are specifically engineered, either by nature or by man to infect or heal, damage or repair at a cellular level.