2018 Art meets Science exhibition - publications.qld.gov.au€¦ · 2018 ART meets SCIENCE exhibition ... AIRS is a Queensland Government program, managed by the Science Division

F r i d a y 1 0 A u g u s t – F r i d a y 7 S e p t e m b e r 2 0 1 8

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S C I E N C E e x h i b i t i o n

CONTENTS

Exhibition plan ........................................................................................................................................................................... 3

The Artist in Residence Science Program .................................................................................................................................... 4

The Ecosciences Precinct ............................................................................................................................................................ 5

The Queensland Government Hydraulics Laboratory ................................................................................................................. 5

Overview of the 2018 exhibition ................................................................................................................................................ 6

THE AIRS ARTISTS .................................................................................................................................................... 7

Nadine Schmoll .......................................................................................................................................................................... 8

Jen Seevinck ............................................................................................................................................................................... 9

Tessie Liddell ............................................................................................................................................................................ 10

Alinta Krauth ............................................................................................................................................................................ 11

The Bloom Collective ................................................................................................................................................................ 12

THE ADDITIONAL ARTISTS .................................................................................................................................. 18

Anastasia Tyurina ..................................................................................................................................................................... 19

Svetlana Trefilova ..................................................................................................................................................................... 20

Dragan Martinovic .................................................................................................................................................................... 21

Kierra-Jay Power ...................................................................................................................................................................... 22

Lauren Lopez ............................................................................................................................................................................ 23

Grania Kelly .............................................................................................................................................................................. 24

Anne Harris .............................................................................................................................................................................. 25

Warren Handley ....................................................................................................................................................................... 26

Tamsin Edwards-Francis ........................................................................................................................................................... 27

Janice Edwards ......................................................................................................................................................................... 28

Donna Davis ............................................................................................................................................................................. 29

Majid Chekroun ........................................................................................................................................................................ 30

Prof. Ross Barnard .................................................................................................................................................................... 31

THE ARTWORKS ...................................................................................................................................................... 32

1 Memetic Soils ....................................................................................................................................................................... 33

2 Relational Biofeedback: Fungi & Rocks ................................................................................................................................. 34

3 A More-than-human System ................................................................................................................................................. 35

4 Ruby Corrents ....................................................................................................................................................................... 36

5 Animation in Progress - Animatic .......................................................................................................................................... 37


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6 Animation Development Artwork - Character and background designs ................................................................................ 38

7 Constructing the Narrative - Storyboard Panels .................................................................................................................... 39

8 The Wrong Kind of Beauty .................................................................................................................................................... 40

9 The Wrong Kind of Beauty .................................................................................................................................................... 41

10 The Wrong Kind of Beauty .................................................................................................................................................. 42

8, 9, 10 The Wrong Kind of Beauty - Biochrome ....................................................................................................................... 43

11 Water Jars ........................................................................................................................................................................... 44

12 Vessels ................................................................................................................................................................................ 45

13 Earth Core Sample .............................................................................................................................................................. 46

14 Ground Truth – Fire, Flood and Human Endeavour ............................................................................................................. 47

15 Art Vs Science ...................................................................................................................................................................... 48

16 We Are in This Together ..................................................................................................................................................... 49

17 Rain then flood 1 and 2 ....................................................................................................................................................... 50

18 Anatomise .......................................................................................................................................................................... 51

19 Experiment with colour and mould, 2018 ........................................................................................................................... 52

20 Experiment with foliage, 2018 ............................................................................................................................................ 53

21 Experiment with light and objects, 2018 ............................................................................................................................. 54

22 Untitled (Northern bettong project) ................................................................................................................................... 55

23 Trophy Coral ....................................................................................................................................................................... 56

24 Foetal (baby) Coral .............................................................................................................................................................. 57

25 Plant Study Artemisia argyi - Mugwort .............................................................................................................................. 58

26 Plant Study Hibiscus tiliaceus - Cotton Tree ........................................................................................................................ 59

27 Family Tree (DNA) ............................................................................................................................................................... 60

28 A Shark-Human Chimaera ................................................................................................................................................... 61

29 Stream of Consciousness: Earth, Air, Fire and Water .......................................................................................................... 62

30 Aphid Eating Myrtle Rust .................................................................................................................................................... 63

31 Painting under Microscope 12 (Diffusion) ........................................................................................................................... 64

32 The Mesh ............................................................................................................................................................................ 65

33 Colour 32 ............................................................................................................................................................................ 66

THE EXHIBITION ...................................................................................................................................................... 67


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Exhibition plan


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The Artist in Residence Science Program The Artist in Residence Science (AIRS) Program supports creative collaborative residencies

between professional artists and creative practitioners, with scientists and the diverse

science networks, researchers, data and infrastructure of the Science Division of the

Department of Environment and Science.

The AIRS program promotes the role and value of arts and science as key drivers of

discovery and growth across Queensland by nurturing our collective and creative

intelligence as we work to understand the environmental challenges facing Queensland.

AIRS is a Queensland Government program, managed by the Science Division in

consultation with Arts Queensland.

AIRS provides an exciting creative opportunity for collaboration between art practitioners

and environmental and natural resource sciences in three dynamic locations.

AIRS contributes to the Advance Queensland initiative by supporting innovative thinking

and collaboration in the science and arts sectors and sharing knowledge through a

community engaged and valuing science.

The 2017-2018 residency involved scientists, engineers and other science staff at two

locations in Brisbane – The Ecosciences Precinct, Dutton Park and the Queensland

Hydraulics Laboratory, Deagon.

The AIRS artists are: Ms Tessie Liddell; Ms Nadine Schmoll; Ms Alinta Krauth; Dr Jen

Seevinck; The Bloom Collective of Dr Renata Buziak,Ms Vicki Kelleher, Ms Jan Baker-Finch,

Dr Vanessa Tomlinson, and Dr Erik Griswold.


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The Ecosciences Precinct Science at the precinct focuses on delivering an improved understanding of our natural

resources and environment, to improve their management, and is helping our key

industries, including agriculture, forestry and marine industries, to develop sustainable

growth strategies.

The precinct houses research staff from Queensland Government Departments:

Environment and Science (DES); Agriculture and Fisheries (DAF); and Natural Resources,

Mines and Energy (DNRME); as well as CSIRO and the University of Queensland through the

Queensland Alliance for Agriculture and Food Innovation (QAAFI).

The Queensland Government Hydraulics Laboratory The DES Coastal Impacts Unit of Water Planning & Coastal Sciences, based at the

Queensland Government Hydraulics Laboratory, Deagon, uses a network of wave buoys

and monitoring stations along the Queensland coast to provide the tide, wave and storm

tide data that is relied upon by anyone that uses our coastal waters such as surfers, fishers,

coastal planners and in particular emergency service personnel during flood, storm and

cyclonic conditions. The information from the Coastal Impacts team is a critical element in

coastal planning and defining Queensland’s storm tides hazards. Wave data helps ensure

the safe and efficient passage of boats in and out of Queensland ports. The Coastal Impacts

Unit collects; analyses; and undertakes coastal modelling to provide coastal hazard and

impacts information to support community and agency preparedness for: extreme events;

coastal erosion; tsunami; and storm tide inundation. The Coastal Impacts Unit also fulfils

the role and obligations on behalf of the Queensland Government as the Reviewing State

for the Tweed River Entrance Sand Bypassing Project.


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Overview of the 2018 exhibition The 2018 Art meets Science Exhibition at the Ecosciences Precinct includes artworks from

the nine AIRS artists: Ms Tessie Liddell; Ms Nadine Schmoll; Ms Alinta Krauth; Dr Jen

Seevinck; The Bloom Collective of Dr Renata Buziak, Ms Vicki Kelleher, Ms Jan Baker-

Finch,Dr Vanessa Tomlinson, and Dr Erik Griswold who participated in the 2017-2018 Artist

in Residence Science Program –a six month residency at the The Ecosciences Precinct,

Dutton Park and the Queensland Hydraulics Laboratory, Deagon. The Exhibition also

included the outcome of a long term art-science collaboration between artist Grania Kelly,

the Remote Sensing Centre at the Ecosciences Precinct, and QUT’s Institute for Future

Environments

For the first time approximately 110 students from Dutton Park State School worked with

artist Nadine Schmoll as part of a two-day ARTSCI event to create a collective sculpture

presented at the exhibition.

Twelve additional artists who have recently completed science-based artworks were also

invited to exhibit. These additional artists are: Dr Anastasia Tyurina; Anne Harris; Donna

Davis; Dragan Martinovic; Janice Edwards; Kierra-Jay Power; Lauren Lopez; Majid Chekroun;

Prof. Ross Barnard; Svetlana Trefilova; Tamsin Edwards-Frances; and Warren Handley

These artists include established independent artists, leading academic artists, emerging

artists and art under graduates, and doctoral students. They include artists studying science

and scientists who are artists or studying art.

This seventh Art meets Science Exhibition spans a range of media and artforms including:

sculpture; performance (movement, sound and poetry); installation; photograghy; painting;

3D priniting; digital animation; and digital interactive artworks.

The 33 artworks presented interact with a very diverse spread of science areas and

techniques including: soil pH, soil erosion and gullying; sampling, chemical analysis; data

collection, access and interpretation; fungi and fungiverous fauna; plant studies and

human-plant interaction; coral and the Great Barrier Reef; recycling and plastics; human

and shark DNA; and seasonal climatic information.


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The AIRS artists


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Nadine Schmoll Nadine Schmoll is an artist and educator who experiments

from the in-between world of art, science and technology.

She partners with communities to create participatory and

sustainable experiences that evoke wonder and an

appreciation for the natural world using colour, light and

shape. Her work examines our relationship with nature and

the use and management of resources. Nadine re-uses

waste materials and found objects to create wearable art,

sculpture and installations. Previous project partners

include Inner West Council Sydney, Ballarat Art Gallery,

Brisbane City Council, Out of the Box Festival and Moreton

Bay Region Libraries. Nadine is the Learn Curator at Museum of Brisbane.

The highlight for me personally has been strengthening community engagement by bringing

together scientists from the Precinct and local school students through Artsci Day. Over two

days, three scientists and three artists delivered art and science based learn programs to

over 100 primary students from Dutton Park State School culminating in the collective

sculpture installation Water Jars. My hope is that this relationship will continue to be

nurtured in the future.

Email: [email protected]

Mobile: 0424 466 692

Online: https://www.nadine-schmoll.com/

Instagram: #nadine.schmoll

Location: West End


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Jen Seevinck Dr Jen Seevinck is an electronic artist and researcher

who creates digital, interactive art systems. Her practice

is driven by conceptual questioning and design for

audience experience. In her work with technology and

science, she is primarily concerned with emergence,

data and interaction aesthetics. Jen has exhibited at

contemporary art galleries in Beijing, Tokyo, Australia

and the U.S.A. Currently she is an academic at the

Creative Industries at Queensland University of

Technology. Her research publications include a recent

book ‘Emergence in Interactive Art’ (Springer, 2017)

The residency with Coastal Impacts Unit has given me the opportunity to bring a deeper

understanding of how water behaves, into my work. I’ve worked with the scientists to

develop my understanding of their measures to create a wave simulation. Manipulating the

data to explore its potential for a live, interactive aesthetic has been the core concern. I had

been working with the aesthetic experience of light on the water for many years and during

AiRS I developed a data-driven model of waves, adding a layer of structure to the work. This

led to a physical visualisation and some thinking around unpredictability; and creating a

visual language for synthesising the graphical forms in the projected imagery.


Mobile: 0481 064 947

Online: www.smartnoise.net

Location: Ferny Hills


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Tessie Liddell Hi, my name is Tessie and I am a NZ born animator/illustrator who

loves drawing, animals and spending time in the outdoors.

I am currently undertaking a PhD at the Griffith Film School,

exploring how storytelling in animation can be used to

communicate environmental messaging.

Throughout this residency I have been collaborating with ESP

scientists Fiona and Grant on an animation to help people

understand rainfall percentiles.

The process has proved to be an enlightening and engaging experience, I have greatly

appreciated being able to work so closely with Fiona and Grant, understanding their

respective areas of research and receiving their direct input and feedback.

I hope the outcomes of our project will reflect the potential for animation and storytelling

to act as an engaging and practical form of science dissemination and that we are able to

make the somewhat confusing topic of percentiles a little clearer.


Instagram: @tessie_liddell

Online: www.tessieliddell.com

Location: Brisbane

http://www.tessieliddell.com/


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Alinta Krauth

Alinta Krauth is a new media art practitioner and

researcher. She uses her practice to highlight environmental

degradation, where she has worked alongside, and has

been inspired by, scientific disciplines and concepts of

relationality. Themes of previous works include: non-human

sentient senses morphed by a changing climate, interactive

controllers for projection-mapped objects and faux-holographic projection, walking as

proprioceptive act, and the connection between gravity and proprioception in music

listening. Recent exhibitions include ‘Under-Mine’ at Art Laboratory Berlin, Transmediale

Festival Vorspiel, Germany, and live interactive solo events in the forests of Australia and

Scandinavia.I was involved as an AIRS artist in the Landscape Sciences division, in particular,

the Soil Processes work unit. During this time I was taken through various methods for

extracting information from soil, given supervised access to particular soil labs in the

Chemistry Centre, and was allowed to be involved in the process of sorting and crushing soil

samples under the supervision of Dianne Allen. I was also briefed on a couple of the soil

projects currently being undertaken by the Ecosciences Precinct. I was inspired by the

process of soil collection and extraction, and also inspired by the concept of interaction

with the ground as an Other.


Mobile: 0403182574

Online: www.alintakrauth.com www.ephemerlab.com

Location: Witheren


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The Bloom Collective

Bloom Collective came together as a

Brisbane-based multi-arts collective

interested in rethinking our relationships

to particular environments. Using

performance as a central creative element,

the artists place themselves in landscapes,

engaging with sites with ritual attentiveness.

Formed in 2017, the collective features five leading artists – Jan Baker Finch (movement),

Renata Buziak (photomedia), Erik Griswold (composer), Vicki Kelleher (poet), and Vanessa

Tomlinson (musician) . They have previously presented work as part of Easter@Harrigans

Lane (Granite Belt), Contexts Ephemeral Art Festival (Poland), and Lines in the Sand Festival

(Minjerribah). Through these projects, Bloom Collective explore the potential of art to pay

attention to place, expanding our ability to listen, see and engage.

The Bloom Collective have primarily engaged with the Department of Environment and

Science in this residency, looking closely at the process of land erosion. Using a Withcott

site as a starting point, the artists spent time with scientists at ESP as well as field trips to

Withcott to experience and reflect upon the formation of gullies. Of particular interest were

words – gullying, dissolving – and the exquisite beauty discovered in the erosion process.


Mobile: 0412466761


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Ass Prof Vanessa Tomlinson Queensland Conservatorium, Griffith University

Vanessa Tomlinson is active in the fields of solo percussion,

improvisation, installation, site-specific performance and

composition. She is currently Associate Professor in Music

at Queensland Conservatorium, Griffith University and

Deputy Director of the Queensland Conservatorium

Research Centre. In addition, Vanessa is the co-artistic

director of Clocked Out – one of Australia’s most important

and eclectic arts organisations – and Artistic Director of the Australian Percussion Gathering

(2010, 2016), Transplanted Roots: Research in International Percussive Arts (2017) and

Sounding Harrigans Lane (2014–17). Over the years Vanessa has commissioned, inspired

and premiered more than 100 works, worked alongside countless wonderful improvisers,

and collaborated with artists across the globe.


Mobile: 0412466761

Location: Brisbane

Image by Jim Rolon - cropped


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Dr Erik Griswold Queensland Conservatorium, Griffith University

Erik Griswold is a composer and pianist working in

contemporary classical, improvised, and experimental

forms. Particular interests include prepared piano,

percussion, environmental music, and music of Sichuan province. Originally from San Diego,

and now residing in Brisbane, he is a recipient of an Australia Council Fellowship, two APRA-

AMCOS Art Music Awards, and an Aria Award nomination. Together with Vanessa

Tomlinson, Griswold directs Clocked Out, who create original music and produce innovative

concert series, events and tours. Griswold is currently adjunct research fellow at

Queensland Conservatorium, Griffith University, and holds a PhD from the University of

California, San Diego, and Queensland Conservatorium, Griffith University.


Online: http://www.clockedout.org/index.html

Location: Brisbane


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Vicki Kelleher Poet (MSocSc (IntlDev), B IntRel)

Vicki is a poet and community arts and cultural

mentor/producer. Vicki has spent the last ten years

developing and producing community arts/cultural

protocols and events, and youth mentoring projects: as

unique standalone events; as part of broader thematic

festivals; and in partnership with government and

community economic transition research processes. Her poetry/arts practice has developed

from ecological place-based written pieces, and grown into work that is more collaborative,

visual, sound and movement inclusive. Vicki is continually seeking to deepen a felt

connection with our environment, through words that break down our resistance between

internal and external worlds, and allowing space for more reflective moments to emerge.


Online: www.heartplacecommunity.blogspot.com.au/

Location: North Stradbroke Island


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Dr Renata Buziak PhD, B Photo Hons - Queensland College of Art, Griffith University

Renata is a photo-media artist, who is passionate about

physically engaging nature and organic processes in her

interdisciplinary art practice. Her practice builds on

alternative and experimental photography; includes

intercultural and art-science research, and cross-

disciplinary collaborations. For over a decade she has been

developing an image making process – the biochrome – by fusing organic and photographic

materials. Renata’s recent PhD studio research focused on local Australian healing plants

significant to the Quandamooka Peoples of Minjerribah/North Stradbroke Island. Her work

has been exhibited in solo and group exhibitions, nationally and internationally, received a

number of art awards, and features in private and public collections.


Online: www.renata-buziak.com

Location: Brisbane


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Ms Jan Baker-Finch

An experienced teacher and exponent of the art of

eurythmy, Jan has established herself as an eclectic and

original performer. For more than twenty years she has

collaborated with musicians, poets, visual artists,

environmentalists and most recently scientists to create in

and out-door site-specific events in a wide variety of localities and contexts from the forests

of Tasmania to the seafront of Wakayama city in Japan. She sees her dance as a kind of

‘listening movement’ that is shaped by heightened attention to all the sensory influences in

a given environment and can deepen and enhance the experience of a watching, listening,

sensing audience.


Online: http://www.linesinthesand.com.au/jan-baker-finch/

Location: Brisbane


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A d d i t i o n a l a r t i s t

The additional artists


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Anastasia Tyurina Anastasia Tyurina is a new media artist, currently an

Associate Professor at the National Research University of

Electronic Technology, Moscow and a sessional academic

at Queensland College of Art, Griffith University, Brisbane.

She holds a PhD in the interdisciplinary field of Artistic

Photomicrography from QCA, Griffith University


Mobile: 0432 264 136

FaceBook: Anastasia Tyurina

Location: Coopers Plains


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Svetlana Trefilova

Svetlana Trefilova is now in the middle of her doctoral

candidature at QCA. Over the last years her works have been

selected for many important art shows in South-East

Queensland. She presented and exhibited at EcoArts Australis

conference 2016 in Wollongong followed by the publication

of her The Hidden Beauty paper as a book chapter.

Recent Exhibitions: 2017 – In/Visible, Gympie Regional

Gallery; 2016 – Microcosm, Redcliffe City Art Gallery; 2016 –

Inner Scapes: Fragile, Tablelands Regional Gallery. Group

exhibitions and art shows: 2017 – VIZBI Challenge, Museum of Contemporary Art, Sydney

(winner); 2017 – La Natura Delle Donna, Florence, Italy (curated by Anna Mola).

As a part of my doctoral research in Visual Arts I investigate Australian native plants at a

microscopic level. I am exploring the dualities of the world around us, which is both visible

and invisible. During my work in a microscopy lab, originally aimed at tracing the

relationship between the subtle organic shapes in my abstract paintings and my scientific

background, I became involved in an environmental project focused on Myrtle Rust

(Puccinia psidii), a fungal disease which infects plants in the Myrtaceae family that

embraces many native Australian species, including eucalyptus, bottlebrush, paperbark and

lilly pilly.


Mobile: 0402 466 497

Online: http://svetlana.id.au/

https://www.facebook.com/SvetlanaTrefilova/

Location: Middle Park / South Brisbane

mailto:[email protected]

http://svetlana.id.au/



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Dragan Martinovic As a teenager, I met art through music. Moving further into

life, I met various other types of art, and I began to

perceive the connection between artistic areas that

previously, seemed to me, to be divided.

Provoked by the war in ex-Yugoslavia, I began to write. It

was a fight with a pencil and paper to preserve my

thoughts. Writing began to come with images that I began

to record. Since I was constantly on the move for years, a laptop was the only solution for

doing my art.

I would like to engage and collaborate with others to produce a positive atmosphere where

everyone can feel the current state we are living in.


Mobile: 0404764101

Online: www.draganmartinovic.com

Location: Coorparoo


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Kierra-Jay Power Kierra-Jay Power is an emerging artist from Darwin, Northern

Territory who lives and studies in Brisbane, Queensland. She

is currently a final year student at the Queensland College of

Art, completing a Bachelor of Fine Arts with a double studio

major in Sculpture and Jewellery and Small Objects. Her work

has been featured in several group exhibitions across Darwin

and Brisbane, as well as held in private collections. In 2017

she received a Research Bursary from the Griffith Honours

College to travel to the Gallery of Comparative Anatomy in

Paris and create a body of work inspired by their specimens.


Mobile: 0424888816

Online @kj.power

Location: West End


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Lauren Lopez I studied painting in high school and since then have been

self-taught. I am rediscovering a joy for painting whilst also

being a wife, mother of two young children and a health

professional. I draw artistic inspiration from my family

(especially my vibrant pre-schoolers) and nature around

me.



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Grania Kelly Grania has an innate way of evoking empathy through

her documentary and media artwork. With a Bachelor of

Visual Arts from Sydney College of the Arts, Grania’s

passion for immersive digital storytelling began in 2003

with The Sanctuary Room, a response to the emerging

post 9/11 era of terror where no one felt completely safe.

After directing several documentaries, including Bringing

Uncle Home for the ABC, Grania returns to immersive storytelling with Ground Truth. The

work is a response to breath-taking changes to landscapes we call home and borrows

satellite imagery, scientific data and motion-sensitive technologies to engage the body in an

intuitive interaction with time and place.


MobiIe: 0429 805 084

Online: https://www.youtube.com/watch?v=K8LIfo1i8pA&t=124s

www.groundtruthnetwork.com

Location: Arana Hills


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Anne Harris The foundation of my practice is about exploring

relationships with the environment, I use plants, natural

pigments and materials to research place, people and the

interwoven connections.

Using traditional and experimental techniques, I work with textiles, alchemy, and plant

fibre to create bodies of work, including series, that through repetition of process, create

learning pathways that share a narrative and begin new conversations.

The work is informed by research of the broad context of plants, alchemy and the

surrounding landscape, the history and environment and a lived experience of harvesting,

seasons and cycles, relevant to our contemporary society


Mobile: 0433 162 847

Online: www.anniesworkroom.com.au @anniesworkroom

http://www.anniesworkroom.com.au/


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Warren Handley Warren Handley is a Multimedia Artist & Graphic Designer

based in Brisbane. A self confessed colourist, his work is

often psychedelic in aesthetic and geometric in form.

Warren works across various digital media from video,

animation, digital collage and illustration to create still

and moving image works. Abstraction is a

prominent theme and process across many areas of

his practice. Since graduating from Art School with First Class Honours at Griffith

University's Queensland College Of Art he has exhibited work in a number of group and solo

exhibitions in South East Queensland.

I’ve always been interested in the relationship between Art, Music, Science, Mathematics

and Design. The lived human experience can be so intangible and hard to describe that I

feel it is important to take into consideration and link all of these separate areas of

investigation. We need to look at it holistically in order to better understand and make

sense of it all. By doing this we might be able paint a clearer picture of what it is to be

human and better understand ourselves. This is why I’m exited to be involved in an

exhibition of this nature – one that bridges the gap between the Sciences and the Visual

Arts, conceptually and academically.

Email: [email protected] or [email protected]

Mobile: 0478 822 433

Online: warrenhandley.com

https://www.facebook.com/ATLAStVISUALs/



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Tamsin Edwards-Francis My art practice is underpinned and informed by the

natural environment and the study of natural history

with a focus on natural landscapes. I work across a

range of media as a way to understand and describe

the unique physical attributes, structures and

processes of nature. Through visual documentation

and creative practical experiment my work seeks to re-

interpret the natural world through an engagement

with the viewer. My formal education includes

landscape architecture, illustration and visual arts and I

have worked as a scientific illustrator and illustrated for educational publishers. I am

currently developing a project for further post-graduate study. This is the second

consecutive time I have been invited to display my artwork in the Art Meets Science

Exhibition.


Mobile: 0432441529

Online: tamsinedwards-francis.com

tumblr.com/blog/tamsinedwards-francis

instagram.com /tamsin_edwards_francis_art/

Location: Bardon


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Janice Edwards Born in Ayr in 1954, then settling in Armidale in 1957, I

completed my schooling, and BA, Dip ED., majoring in

Geography before teaching with Education Queensland from

1980, and working for the next ten years in North

Queensland. There I completed a MEd Degree at James Cook

University and continued my lifelong interest in Art by

volunteering at the Perc Tucker Gallery. I took an interest in

exploring and diving on The Great Barrier Reef. After

teaching for 37 years, I am now pursuing my passion for Art,

and completed a Diploma and an Advanced Diploma of Art

at Northern Rivers TAFE in 2017, holding my first exhibition

‘Undercurrents’ at Mullumbimby, 2018.

My research into the combination of Science and Art has been a great revelation in that I

can now see how they enhance each other, Science giving reality, depth and

meaningfulness to Art, and Art generating ideas and possibilities for science investigations

and research. I also see the great benefit of Art being a means of communication of

scientific ideas to the public, so they understand mankind’s influence interacting with the

environment and appreciating and recognising man’s impact on various systems, forms and

organisms. I now understand that truth can be even more fascinating and imaginative than

fiction.


Mobile: 0414786006

Instagram: janiceedwardsart

Location: Pottsville


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Donna Davis I am a multi-discipline artist intrigued with the idea of

connection; my work explores intersections between art and

science with a particular focus on natural and social

ecosystems. Often collaborating with ecologists, botanists

and mycologists, I explore new ways to creatively interpret

ecological data; working across sculpture, assemblage,

installation and digital media to create works that capture

and create sites of environmental observation. I have

undertaken a number of residencies with organisations such

as the Queensland Herbarium, Brisbane Botanic Gardens, Tanks Art Centre and the

Department of Environment and Science (DES).

I recently undertook a four week residency in Cairns where I got to work with Dr Sandra

Abell, principal scientist Wet Tropics World Heritage Area; creatively exploring Dr Abell’s

work investigating the decline of the northern bettong and the ecological implications of

species loss.

During our time together we visited the Australian Tropical Herbarium to view dried

specimens of Kangaroo and Cockatoo grass, undertook field visits to the bettongs habitat to

look for grass ‘spit balls’ and also got to view the bettong enclosure at the Cairns Zoo to see

them up close and document their unique habits.


Mobile: 0408 604 344

Online: www.donnadavisartist.weebly.com

Location: Ipswich


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Majid Chekroun I am French, I am Moroccan and I am Australian. I have

worked as a visual artist since 1985. In France, I exhibited at

galleries and chateau in Brittany, Bordeaux and South West

France. I regularly hosted an open house at my former

studio in Bordeaux. When I moved to Sydney, I created a

new studio and accepted commissions. Now based in

Brisbane, I have a generously lit, spacious studio

overlooking the garden, which inspires me daily. .

I am an artist painter. My work is contemporary with an

emphasis on lyrical and musical expressionism. My philosophy is that an artist's journey is

alive thanks to his questioning and uncertainties. The majority of my inspiration comes

from the natural environment and I am driven to record change.


Mobile: 0403 111 989

Online: https://www.linkedin.com/in/majid-chekroun-2273027a/

https://twitter.com/majidchekroun

Location: Yeronga


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Prof. Ross Barnard

Ross has lived in Brisbane since 1982. He has been

sketching and painting for more than 50 years. It is only in

the last few years that his work has been exhibited.

Recently, several of his paintings (including one of his

paintings in this exhibition) have been published in a peer

reviewed journal. His painting employs diverse media

and is influenced by Fauvism, symbolism and surrealism. It is a vehicle for reflecting upon

and communicating his decades of work in science, his responses to serendipitous

encounters, and to quirky environments around Brisbane and overseas.


Mobile (or phone): 0410494472

Online (Website/blog/Facebook): https://www.facebook.com/RossBarnardArtworks/

Suburb:Toowong


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The artworks


33

1 Memetic Soils

Artist: Alinta Krauth

Scientist: Di Allen - Landscape Sciences

Media: Mixed Reality

During my residency I had the opportunity to

be a part of the Precinct’s usual soil refining

process. Learning about each step, from field to jar, I considered how one might emulate

these methods to make art. As a digital artist, I often experience comparable processes of

sampling, ordering, crushing, coding, and sieving, albeit differently. As such, Memetic Soil

attempts to answer: ‘what would a digital artwork look like if it underwent a soil refining

process?’

To answer this, I considered, ‘what is the digital version of a soil sample?’ Given that soil

can represent deep time and change, and is sampled from a field, I decided that one

equivalent was the Internet Meme. I then conceptualised equivalents for each soil sample

process, such as drying, crushing, and cataloguing. I also noticed how the process of

removing botanical matter from soil in the lab seemed to rid it of certain contexts, which

became integral to this project.

From this conceived method came memetic language and images devoid of original context

that are reconfigurable on the screen by the user, sorted into colour, size, and font based

on the coding techniques I adapted. The digital artwork then sits in a representation of a

glove box, which reminds me of the extractor booth I worked with in the lab

Contact artist for price

E: [email protected]

M: 0403182574


Location: Witheren


34

2 Relational Biofeedback:

Fungi & Rocks



Media: Digital video, documentation of real-

time work with bio-sensors on natural surfaces

This video documents my experiments over the course of my EcoSciences residency with

GSR-to-MIDI biofeedback on biological and geological actors and environments. This system

allows me to create sound art from the internal action potentials of nonhuman actors.

Particular to my experiments is the use of a combined human/nonhuman signal, where

sound art is produced when both a human subject and a nonhuman subject collaborate in

equally producing a GSR signal. Of course, not everything can create biological signs…

Initially setting out to use soil as part of this collaborative electronic set up, I found that any

small success I had in capturing the action potentials of soil was extraordinarily difficult to

reproduce in a gallery situation, or using treated soil (you might say this was from ‘lack of

grounding’ if you excuse the pun). As such, I moved on to fungi, who have a particularly

strong interaction with soil through their mycelia, and geological actors such as glacially

formed rocks protruding from the earth.

What you see and hear in this video are the action potentials from rocks of Ireland’s

Connemara and The Burren regions, and mushrooms of South East Queensland’s once

volcanic regions. You will notice these actors making sound independently, but at times you

will see me step into the frame to ‘collaborate’ by placing one electrode on myself. This is a

process that cannot be faked, as both sources must produce a strong signal for sound to

occur.

Contact artist for price E: [email protected] M: 0403182574 Online: www.alintakrauth.com www.ephemerlab.com Location: Witheren


35

3 A More-than-human System



Media: Mixed Reality

NOTE: This is work is not available every

day of the exhibition

A More-than-human System is an interactive work that allows a human to make

collaborative music with an environmental actor (in this case, a plant). By touching the

galvanic skin response biofeedback electrode in the box, your bio-signs will combine with

those of the plant, and together you will make sound that represents the similarities and

differences between your body's signals. Sound will not occur until you combine your signal

with the plant's. You can also touch the plant itself (while one finger is still on the electrode

in the box) to hear it's responses change. This piece represents a work-in-progress that

follows on from the video piece, Relational Biofeedback, also seen in this exhibition.

Contact artist for price


M: 0403182574


Location: Witheren


36

4 Ruby Corrents

Artist: Jen Seevinck

Scientists: John Ryan, Paul Boswood

Artform and media: Interactive Art, projection with data

visualisations

In 2006 the Brisbane coastal wave buoy recorded its highest

ever wave at 16.8m. Historical wave data for comparable

dates from 1995–2018 show how unusual this is. The

unpredictability of the sea and nature continually surprises

us, running counter to the sense of control we crave in

managing our daily lives. This work invites reflection on the

variable richness of our natural world. Data recorded by the

Brisbane buoy at Point Lookout updates a wave simulation

model. Fine beach sand from Stradbroke island can be

touched to reveal the imagery this generates, and to

experience current Brisbane wave conditions.

The wave and tidal data collected by CIU scientists involves

buoys at sea and fixed stations and is uploaded in near real

time. Working with the scientists to understand the

relationship between their data measures has informed my

creative process. I created a 3D computer wave model based on wave period, amplitude

and direction data. This simulation drives the imagery projected on the sand. Historical

wave data for Brisbane has also been used in the physical sculpture where it visualises the

maximum wave height Brisbane buoy ever recorded (16.8m March 4, 2006) alongside

comparable dates (March 4, 1995-2018).

Email: [email protected] Mobile: 0481 064 947

Online: www.smartnoise.net Location: Ferny Hills


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5 Animation in Progress -

Animatic for: ‘This season

might not be as great as

you think it is Jim!

Artist: Tessie Liddel

Scientists:

Fiona McCartney - Social Sciences,

Grant Stone - Grazing Land Systems

Artform and media: Video – Animatic

A later stage of the animation process, an animatic is a video format storyboard, used to

test the progression of scenes and the timing of animation.

The focus of this animatic is to see if the communication tactics in our storyboard translate

well into video. Do we cover the topic too quickly? Is it clear enough? Does the dialogue

(ignoring the female voice) sound convincing?




Location: Brisbane



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6 Animation

Development Artwork -

Character and

background designs for:

‘This season might not

be as great as you think it

is Jim!’

Artist: Tessie Liddell

Scientists: Fiona McCartney - Social Sciences,


Art form and media: Digital and Watercolour Illustrations - Animation Development

Artwork

These character turnarounds act as a reference guide to help keep the characters in the

animation visually consistent. Throughout the development of the project they have

undergone a few alterations such as the changing of their names and attire; Billy became

Jim and Harry became Mick. Clothing wise, shoes, pockets, trousers and hats were also

adjusted to more accurately represent typical Queensland graziers.

In designing the backgrounds for this animation, it was important to create a false

impression of healthy rainfall by illustrating lush green landscapes, abundant in tussocks of

grass. Design elements like this play a vital role in the narrative of the animation; the

character Jim, not realising how low the rainfall for his region is.




Location: Brisbane



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7 Constructing the

Narrative - Storyboard

Panels for: ‘This season

might not be as great as you

think it is Jim!’

Artist: Tessie Liddell

Scientists:

Fiona McCartney - Social Sciences,


Art form and media: Storyboard

As a fabricated medium, storyboarding serves an important role in visualising the narrative

of an animation.

In creating the storyboard for this project, I aimed to establish an intensity and engagement

between Jim and Mick’s conversation. Jim is learning some troubling news and so it was

important that this was apparent in both the visuals as well as the dialogue.

As a collaborative team it was also important that the visuals, story and dialogue aided in

the communication of percentiles and that the scenario came across as authentic

conversation between two QLD graziers.




Location: Brisbane



40

8 The Wrong Kind of Beauty

The Bloom Collective: Jan Baker-Finch, Renata Buziak, Erik Griswold, Vicki Kelleher, Vanessa Tomlinson*

Scientists: Dr Joanne Burton (PhD, B Sc Hons), Dr Alex Garzon-Garcia, and Peter Zund

Artform and media: Photographs, performance, video, printed textile, poetry

The Wrong Kind of Beauty is the collective’s embodied, experiential response to the fragility of the

landscape produced by the gullying process. The harrowing and ongoing drama of the landscape,

simultaneously reveals moments of delicate sculptural beauty, explored here through poetry, movement,

sound and visual documentation.

The photographs and videos presented are from site at Murphy’s Creek near Toowoomba, generously

made accessible by Gerald Handley, the property owner. Printed fabrics and poetry were created as a

response to our first visit. All audio visual work included here was made in the gullies in a single day, on the

second visit to the site. We invite you to listen, look, experience and rethink these familiar landscapes.

In addition, biochrome images of soil featured on paper, fabrics, and time-lapse videos, were created with

soil samples collected from the site, and from the Bowen rivers catchment. Biochromes present traces of

micro-organic and chemical transformations recorded over several weeks on photographic emulsions,

addressing diversity of living soils.

Before the Bloom Collective met members of the Landscape Sciences, we didn’t know the word gully could

be a verb. Gullying is a natural process. The Grand Canyon was created by gullying over millions of years.

Human activity, such as land clearing and overgrazing can contribute to gullying, causing rapid land

degradation and soil erosion. The latest scientific studies indicate that gullies are a major source of

sediment flowing to the Great Barrier Reef (Bartley et al., 2017). The Bloom Collective were introduced to

gully research by members of DES, identifying causes, measuring rates of change, tracing the effects on

ecosystem, and considering rehabilitation options. The Wrong Kind of Beauty ruminates on all of these

concerns.

*A/Prof at Queensland Conservatorium, Griffith University

All videos and photographs are by Greg Harm from Tangible Media

All images are for sale, unframed, for $250 each. For all other works, please contact the artists E: [email protected] M: 0412466761


41
























concerns.





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concerns.





43

8, 9, 10 The Wrong Kind of Beauty - Biochrome

Biochrome images of soils were created by fusing soil samples and photographic emulsions. Samples were collected from various sites of substantial soil erosion, including the Bowen River catchment-of which excessive sedimentation cause significant threat to the health of the Great Barrier Reef.

Biochromes depict traces of micro-organic and chemical transformations recorded over several weeks on photographic emulsions. The images depict the diversity in soil types and show that even highly erodible soils are living

Soil samples used for biochrome images on paper:

1. Soil sample from Strathalbyn Station via Collinsville, made accessible by property owners Bristow & Ureisha Hughes. The sample was taken from an alluvial erosion gully wall, at depth of 0.6-0.7m below the surface, and right on the edge of the erosion, the erosion scarp. The gully is located on the Greening Australia rehabilitation site at Strathalbyn (Gully 5). North Queensland Dry Tropics NRM Group is planning to use Gully 5 for a Cattle Stomping Gully Rehabilitation Trial.

2. Subsurface soil from a highly erodible Chromosol, subsoil sample was taken from a gully wall in August 2018.

3. Surface soil ferrosol sample from a grazing property in the Bowen River Catchment.

Images of both samples 2 & 3 were created under exactly the same controlled conditions, simultaneously.

Soil samples used for biochrome images on fabrics:

1. Murphy’s Creek Gully, near Toowoomba, collected from its surface in February 2018.

2. Surface Vertosol soil of high erodibility from grazing farms in the Bowen River catchment (near Collinsville).

Soil sample featuring in the time-lapse video:

Surface soil ferrosol sample from a grazing property in the Bowen River Catchment.

All images are available for sale, unframed.

Please contact the artist

E: [email protected] M: 0401664400


44

11 Water Jars

Nadine Schmoll

Collaborating artists: Students from Dutton Park State School, Karen Benjamin, Wendy Small (Reverse Garbage Queensland)

Scientists: Angus McElnea and Gail Zerk (The Chemistry Centre), and Brogan Amos (PhD candidate in the School of Biological Sciences affiliated with DAF Animal Science)

Artform and media: Sculpture - Cotton tshirts, plastic bottles,

dye

Water Jars is the culmination of art and science learning

experiences between local school students and soil and water

scientists from the Chemistry Centre. This piece comprises

more than 50 metres of french knitting woven from upcycled

t-shirts and dyed in the colours of the Hydrangea flower. The

etymological meaning of Hydrangea stems from the Greek words for water, hydros and jar,

angos.

Soil pH affects the availability of aluminium in the soil, which indirectly changes the colour

of some varieties of hydrangea, namely Hydrangea macrophylla. Blue flowers can be

induced in acidic soil (pH 5.5 and lower) as aluminium is more available to the roots. For

pink flowers, hydrangeas need neutral to alkaline soils (pH 6.5 and higher) and for purple

flowers the pH must be between 5.5 and 6.5.

The uptake of dye in the fabric references the physical appearance of paper

chromatography, another area of science which the students participated in.

E: [email protected] M: 0424 466 692

W: https://www.nadine-schmoll.com/

I: #nadine.schmoll

Location: West End


45

12 Vessels

Nadine Schmoll

Artform and media: Sculpture - PET bottles

Polyethylene terephthalate, or PET as it is more commonly

known, is a thermoplastic polymer resin of the polyester family.

PET is used to make bottles for drinking water – an industry

worth $736 million in Australia alone.

A form of single use plastic, PET bottles are used once and then

discarded into the wastestream, often making their way to the

ocean where they join 124 billion individual pieces of visible

plastic littering the Australian coastline.

Vessels seeks to draw attention to this environmental crisis by transforming a functional item

designed for single use into an artifact with shelf life.


M: 0424 466 692

W: https://www.nadine-schmoll.com/

I: #nadine.schmoll

Location: West End


46

13 Earth Core Sample

Nadine Schmoll

Collaborating artists: Students from Dutton Park State School,

Scientists: Angus McElnea and Gail Zerk (The Chemistry Centre)

Artform and media : Sculpture - Glass vase, biscuits, canned fruit, cocoa, custard, coconut

Soil scientists collect core samples of soil by drilling into sediment or rock with a hollow

steel tube called a core drill. This produces a cylindrical section of soil that can enable you

to see the different horizon levels or soil profiles.

Earth Core Sample offers a fun and engaging approach to environmental issues as viewers

are invited to participate in consuming the artwork and thereby engaging in a conversation

on resource use and our impact on the world around us.


Mobile: 0424 466 692

Online: https://www.nadine-schmoll.com/

Location: West End


47


14 Ground Truth – Fire, Flood and

Human Endeavour

Grania Kelly - Media artist StarSapphire Productions

Media: Digital mixed media

Scientists: Christina Jones, Deanna Vanderberg, and Ken Brooks – Department of Environment and Science

Gavin Winter - Visualisation and eResearch Manager, QUT Institute of Future Environments.

Artform and media: Interactive projection using Landsat 5 T M, Landsat 7 ETM+ and

Landsat 8 OLI. Imagery courtesy of the U.S. Geological Survey

Step forwards and backwards through time and sound for an interactive geospatial immersive

journey through the Greater Brisbane Region, the Channel Country and Cape York and experience

how Queensland’s landscapes are changing. Ground Truth is inspired by the science of remote-

sensing: using data from satellites, airborne sensors and ground-based platforms to map and

monitor vast landscapes and how they change over time.

Satellite imagery and datasets of Queensland regions that have experienced dramatic, sometimes

rapid change in the past 30 years have been time-lapsed and then linked to motion-sensitive

technologies and a creative soundscape to engross the audience in an intuitive, place-based

interaction. This new sensory experience allows audiences to orchestrate their own dynamic

'ground truth' experience, while encouraging scientific discovery at the same time.

Ground Truth exhibited during the World Science Festival Brisbane in March and Transboundaries:

Art+Connection at QUT Art Museum in April 2018.


MobiIe: 0429 805 084

Online: https://www.youtube.com/watch?v=K8LIfo1i8pA&t=124s

www.groundtruthnetwork.com

Location: Arana Hills



48


15 Art Vs Science

Dragan Martinovic

Collaborating artist: Tion Martinovic

Art form and media: Digital art, Print

Art and science are always starting to play on the board

of our limitation.

Chess pieces that are captured in the game taking the

new position in a new game right to the next board.

Then, the game passes to the tables around us, and so the game constantly goes further

and becomes wider.

The life of an artist always researches to see the essence, reasoning and understanding for

certain events.

Price: $400 – Please contact the artist


Mobile: 0404764101

Online: www.draganmartinovic.com

Location: Coorparoo


49


16 We Are in This Together

Lauren Lopez

Art form and media: Acrylic paint on canvas

We Are in This Together is an artistic representation of the

relationship between humans and the environment, using the

science of photosynthesis viewed from a child's curious

perspective.

This piece was inspired by my five year old son telling me matter-of-factly one day how

"trees help us by breathing in carbon dioxide and breathing out oxygen for us", i.e.

photosynthesis.

From a distance, this piece shows a simple scene. Moving closer, the reaction for

photosynthesis is visible amongst the leaves (reactants in white, products in blue). Smudges

of yellow represent the light energy required for photosynthesis. Inspired by

Impressionism, scumbling and short strokes of colour represent the vibrancy of the

subjects.

NOT FOR SALE



50


17 Rain then flood 1 and 2

Majid Chekroun

Art form and media: Mixed media on rough paper

My artwork focuses on the reality that we are at the

mercy of Mother Nature. Living near the river, I am

reminded on a daily basis of the fragility of the

environment and the need for science to understand and

protect it. I am drawn to document the damage flood can

do to the environment when science is ignored.


Mobile: 0403 111 989

Online: https://www.linkedin.com/in/majid-chekroun-2273027a/

https://twitter.com/majidchekroun

Location: Yeronga


51


18 Anatomise

Kierra-Jay Power

Art form and media: Jewellery/Small Object:

Articulated sterling silver cane toad

constructed from lost wax cast 3D printed

Natural curiosity, play, and aesthetics are tools used

historically in both science and art to inspire and educate. Objects which engage experimentation,

play, and fine motor skills are crucial to human social and physical development. Lost wax casting,

3D printing, and traditional metal-forming explore the potential of form and the transformation of

material. Research has revealed that the introduced cane toad has adapted behaviourally and

physiologically to the Australian landscape. While the cane toad may be one of the biggest threats

to Australian biodiversity and ecology, it has also infiltrated popular culture to become a

celebrated Queensland icon.

The cane toad skeleton was lost wax cast in sterling silver from an edited 3D printed model and

then articulated by the artist using handmade connections. The original 3D printable file was

scanned and developed for anatomy education and study. The file was made available online for

anatomical study alongside the article “3D scanning and printing skeletal tissues for anatomy

education” (2016) which discusses the vital role physical interaction plays in student’s comparative

anatomy education and their understanding of unique anatomical structures.

3D Model sourced from the following research paper: Thomas DB et al. (2016). 3D scanning and

printing skeletal tissues for anatomy education. Journal of Anatomy doi: 10.1111/joa.12484.

Daniel B. Thomas, Jessica D. Hiscox, Blair J. Dixon and Johan Potgieter from the Institute of Natural

and Mathematical Sciences, Massey University, Auckland, New Zealand and the School of

Engineering and Advanced Technology, Massey University, Auckland, New Zealand.


Mobile: 0424888816

Online @kj.power

Location: West End


52


19 Experiment with colour and

mould, 2018

Tamsin Edwards-Francis

Art form and media: Photo media collage: cartridge paper,

coloured acetate, photographic image digitally printed on

acetate, paper remnants, glue.

Multiple floating translucent cell-like shapes are collaged into a

layered abstract image. This work references processes of scientific documentation,

laboratory observation and experimentation, and suggests the hidden microscopic world

not visible to the human eye.



Mobile: 0432441529




Location: Bardon


53


20 Experiment with foliage, 2018


Art form and media: Mono print: printing ink on cartridge paper.

Monochromatic ghost-like plant images are scattered across a

white background. This work references past natural history

documentation and investigation and the process of nature

printing where an impression of an object was obtained through

direct contact onto materials such as lead, gum, and photographic

plates. The nature print, like a botanical illustration, depicts an

image that is scientifically accurate but contains an intrinsic artistic value.



Mobile: 0432441529




Location: Bardon


54


21 Experiment with light and

objects, 2018


Art form and media: Photo media collage: cartridge paper,

photographs digitally printed on paper.

Floating, pebble-like shapes overlap to create an abstract

composition. Illusive images of enigmatic objects appear as if

viewed through murky water. This work references scientific documentation and processes

of investigation and alludes to ideas about the complex and inexact nature of

interpretation.



Mobile: 0432441529




Location: Bardon


55


22 Untitled (Northern bettong project)

Donna Davis

Scientist: Dr Sandra Abell (Principal Scientist), Wet Tropics Authority (Cairns) + Australian Tropical Herbarium

Art form and media: Soft sculpture: fabric, wire, timber, tube,

mirrors.

Rather than presenting a fluffy representation of the cute northern

bettong I have created a fluffy homage to the distinct foregut of the bettong; exploring the

northern bettong’s ecological importance through its unique diet.

The work invites the viewer to peer through the bright pink foregut, into a kaleidoscope, to view

the macro and micro world of the bettong’s diet of roots and tubers of kangaroo and cockatoo

grass, together with its preferred, and rather refined taste for truffle fungi. This, in turn supports a

healthy and balanced ecosystem due to the symbiotic relationship truffles have with native flora.

This work is a result of a recent art/science collaboration where I creatively explored Dr Sandra

Abell’s work investigating the decline of the endangered northern bettong, its diet and the

ecological implications of species loss.

“Davis was inspired to create a ‘bettong foregut kaleidoscope’ with the conservation message that

it is the bettong’s special gut and their microbial ecosystem within that allows them to feed mostly

of truffle fungi. As well as food for mammals the truffle fungi feeds the tree’s nutrients and water

via their roots (mycorrhiza) which is vital for the health of the bettong habitat.” Dr Sandra Abell


Mobile: 0408 604 344

Online: www.donnadavisartist.weebly.com

Location: Ipswich


56


23 Trophy Coral

Janice Edwards

Art form and media: Graphite, powdered graphite

and watercolour on paper

I depict coral as part of a larger ecosystem, throughout which interactions continually take

place. What appears on the surface, however, to be a random mix of shapes and forms, on

closer scientific inspection, reveals complex underlying structures and layered interactions

within and between organisms, creating symbiotic connectivity.

Please contact artist for price


Mobile: 0414786006




57


24 Foetal (baby) Coral

Janice Edwards

Art form and media: Oil on canvas

Depicting coral within its natural context, I show

coral as part of a symbiotic ecosystem of

connectivity. Coral is impacted by many

organisms but man has the greatest power to influence, ultimately possibly leading to

destruction. Using both scientific accuracy and interplay of shapes and colour artistically, I

encourage viewers’ feelings of appreciation to combine with responsible interactions.

Science has a great opportunity to provide truth and detail to a surface description. This

allows the artist to gain more meaningful understandings of interactions and impacts. It

also allows the artist to place significance and emphasis on areas of importance to the

message to be communicated. This is particularly important for coral which is influenced by

thins unknown to the lay person.

Please contact artist for price


Mobile: 0414786006




58


25 Plant Study Artemisia

argyi - Mugwort

Anne Harris

Art form and media: Natural Dye on Hemp, Cotton

and Silk, Plant Fibre and Paper

Spending time with a plant to understand how to

give voice to the nature takes me on a journey.

Looking at the history and the properties both traditional and also using experimental

techniques, I find a way to share the story of the plant. When people see this they begin a

dialogue of interest, maybe understanding. What I see and learn is a connection to place, to

seasons to cycles to a layer of knowledge that sits quietly unseen waiting to be re-

discovered.

The research undertaken for this plant includes, plant identification and field research,

learning when and where this plant could be harvested, and the different sub species. The

alchemic properties were studied through various dyeing techniques to work out the best

way to represent the plant aesthetically. Then the medicinal and healing properties were

explored through a process of working with and ingesting, smoking and making rituals, and

researching historical documentation. Heidi Merika Herbal Nutritionist and Plant Spirit

worker assisted in this part of the activity.

Please contact Artist for Price.


Mobile: 0433 162 847




59


26 Plant Study Hibiscus

tiliaceus - Cotton Tree

Anne Harris

Art form and media: Natural Dye on Cotton and

Silk, Plant Fibre and Paper

Spending time with a plant to understand how to give voice to the nature takes me on a

journey. Looking at the history and the properties both traditional and also using

experimental techniques I find a way to share the story of the plant. When people see this

they begin a dialogue of interest, maybe understanding. What I see and learn is a

connection to place, to seasons to cycles to a layer of knowledge that sits quietly unseen

waiting to be re-discovered.

The research undertaken for this plant includes, plant identification and field research,

learning when and where this plant could be harvested. The alchemic properties, were

studied through various dyeing techniques to work out the best way to represent the plant

aesthetically. The knowledge of how to use the fibre was gained through looking at objects

in museum collections nationally, and from knowledge shared by local Kabi Kabi/Gubbi

Gubbi Indigenous teacher Lyndon Davis and his wife Nicky; Bare Weaving Collective from

NSW; and weaving teacher Rene Bahloo.

Please contact Artist for Price.


Mobile: 0433 162 847




60


27 Family Tree (DNA)

Warren Handley

Art form and media: Digital Collage & Abstraction Printed on

Fine Art Gyclee Paper

This digital collage and abstraction was created in Adobe

Photoshop and is from a series called ‘Family Tree’ which

investigates and compliments research into our collective human

ancestry. Digital abstraction processes have been used to create a DNA Double Helix looking form

which is made from the duplicated silhouettes of our hominine ancestors and the species we co

evolved with that eventually became extinct. These species are no less important in the story of

our evolution. Likewise the background image behind the DNA form is of Eosinophils – white blood

cells that have been hugely important to our survival and evolution as a species. With every new

set of fossilised skeleton we find we are given an updated picture of our ancestry. As we

exponentially move into a new era of human evolution, the precious information stored in our

DNA has become both more accessible and more venerable than ever. As we move forward, it is

equally important to look back, for it was our gradual evolution over hundreds of thousands of

years that has made us who we are today and informs so much of how we operate socially,

physically, psychologically and spiritually.

Research into our collective human ancestry and human immunity.

https://www.flickr.com/photos/euthman/sets/72057594114099781/

Photo of Eosinophils by Ed Uthman under Creative Commons Attribution 3.0 Unported (CC BY 3.0)

https://www.flickr.com/photos/euthman/sets/72057594114099781/

pathologist in Houston, Texas

Digital Collage & Abstraction of John Gurche's illustration of Homo naledi, Lucy (Australopithecus

afarensis) and Turkana Boy (Homo erectus) Created for National Geographic Magazine.

Email: [email protected] or [email protected]

Mobile: 0478 822 433 Online: warrenhandley.com

https://www.facebook.com/ATLAStVISUALs/

https://www.flickr.com/photos/euthman/

https://commons.wikimedia.org/wiki/Houston,_Texas



61


28 A Shark-Human Chimaera

Prof. Ross Barnard

Collaborating scientist: Dr Katleen Braet, and scientists at the UQ Moreton Bay Research Station., The University of Queensland, Moreton Bay Research Station (Dunwich, Stradbroke Island).

Art form and media: Acrylic on canvas

This surrealist work was initially intended to be a complete

image of the spectacularly decorated Wobbegong shark, but

metamorphosed during painting, into a chimaeric creature, reflecting my research at the time.

This painting was inspired by research on shark antibodies with Dr. Katleen Braet, at the UQ

Moreton Bay Research Station and at St. Lucia. The antibodies were constructed using

recombinant DNA technology from lymphocytes of the Wobbegong, Orectolobus ornatus. We

aimed to use the antibodies to prevent graft rejection (after cancer therapy), and to target breast

cancer cells. The active parts of the shark antibodies were “spliced” into a human immunoglobulin

“backbone”, to produce a chimaeric molecule. At the top left of the painting is a shark antibody,

while at bottom right is depicted a human antibody. The painting was intended to be a complete

image of the spectacularly decorated Wobbegong shark, but metamorphosed into a chimaeric

creature, reflecting my research. The metamorphosis is shown in the images of the preparatory

work.

NOT FOR SALE


Mobile: 0410494472

Online: https://www.facebook.com/RossBarnardArtworks/

Location: Toowong


62


29 Stream of Consciousness:

Earth, Air, Fire and Water

Prof. Ross Barnard

Art form and media: Ink and watercolour on paper

"Stream of Consciousness; Earth, Air, Fire and water."

Ancient ideas and symbolic representations of the origin and composition of our world gave

birth to our quest for unifying mathematical descriptions of the world and physical

phenomena; matter and energy in their various forms (atoms, compounds, light, heat,

sound). Indeed, it is amazing that the diversity of nature has patterns that can be described

by beautiful and mysterious equations –but, as Heisenberg pointed out in “Physics and

Philosophy” (1958) we cannot know the limits of applicability of our mathematical models.

See if you can spot Boltzmann, Schrödinger, Szilard, deBroglie, Einstein, Bragg, Planck and

Fibonacci.

This painting was partly inspired by my work on electrostatic interactions between

molecules and molecular modelling. I have published several papers in theoretical biology

and molecular modelling, which have a strong mathematical dimension, as well as

interdisciplinary papers on the implications of genetics for justice and ethics. As scientists

we frequently propose models to describe nature. In physics and chemistry this involves

speculation as to the origins and construction of the universe and our world, followed by

experimental testing of those speculations. In those endeavours we share the ambitions

and creative spirit of the artist, the philosopher and the mystic.


Mobile: 0410494472

Online: https://www.facebook.com/RossBarnardArtworks/

Location: Toowong


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30 Aphid Eating Myrtle

Rust

Svetlana Trefilova

Scientist Tamara Taylor, Griffith University

Artform and media: Digital video

Myrtle rust, a very dangerous fungal disease of plants, was detected in Australia only in

2010 in NSW. Since then it has become widespread across the other states, infecting plants

in the Myrtaceae family. Common Australian Myrtaceae species include eucalyptus, willow

myrtle, turpentine, bottlebrush, paperback, tea tree and lilly pilly, which are a major part of

Australian ecosystem. There is no way to control distribution of myrtle rust spores at the

moment. I discovered a little aphid feeding on those spores. I know that aphids are pests

themselves, however can it be something to look at as a method of biological treatment?

This video shows the shapes of myrtle rust spores and presents the evidence that aphids

feed on those spores. I managed to record live the digestion of spores in an aphid’s body.

Video has been recorded under a compound microscope, magnification between x100 and

x400, Environmental Laboratory, Griffith University.

Price: Please contact the artist


Mobile: 0402466497








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31 Painting under

Microscope 12 (Diffusion)

Svetlana Trefilova


Artform and media: Digital video

Diffusion is a principal process of moving water and nutrients between plant cells and also

within a single cell where molecules or ions are often synthesised. This process is invisible.

There is no way to see it a living system. The diffusive process is too slow and takes place

only in living body.

Under a stereo light microscope I recorded videos of paint particles’ motion in a petri dish

on water substance and created a visual model of diffusive processes in living system.

Price: Please contact the artist


Mobile: 0402466497








65


32 The Mesh

Svetlana Trefilova


Artform and media: Painting, acrylic on canvas, 2016-2017

I look down the microscope trying to catch the glimpses of

the invisible world which surrounds us. Paintings from my

Microscopy series are inspired and informed by my studies

of cell structures, and the freely flowing liquid paint

represents a visual model of a living organism. The Mesh is

my artistic view of a cell membrane, a thin permeable structure which is a border between

the inner and the outer world.

This abstract painting is based on studying under microscope different types of cellular

tissues of Australian native plants.

Price: $2000 Please contact the artist


Mobile: 0402466497








66


33 Colour 32

Anastasia Tyurina

Scientist: Dr Cameron Flegg, Griffith University

Art form and media: Digital mixed

media (Video)

Colour 32 portrays a drop of Brisbane

River water. Displayed on the interactive screen, this photomicrograph of water can be

altered by the human touch offering a visual and embodied engagement. This digital

installation allows the transformative power of water to be explored; it offers new

perceptual experiences and is capable of providing a new meaning for scientific images

through its ever-changing visualisation. This leads to the image being disconnected from

pure data and objectivity and allowing the viewer to perceive it as art, helping them to

interpret photomicrographs of water in different ways. By developing alternate forms of

visualisation, I aim to transcend disciplines and contribute to the new ways of seeing water.

I investigate how to interpret scientific images captured by the SEM of micro-scale drops of

water from different aquatic systems after evaporation. I do so in an attempt to discover

morphological features of the patterns related to water contamination. During experiments

for my project, the structure of the water impurities visually transforms and leads to a

unique connection between evaporation and solidification. This natural process of drying

reveals the unique informative capacity of droplets as well as the shapes, patterns, details,

and characteristics of water. It can be seen as an alternative and unusual method of

visually presenting the composition of water.


Mobile: 0432 264 136

FaceBook: Anastasia Tyurina

Location: Coopers Plains


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The Exhibition


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Documents

2018 Art meets Science exhibition - publications.qld.gov.au€¦ · 2018 ART meets SCIENCE exhibition ... AIRS is a Queensland Government program, managed by the Science Division