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‘UP CLOSE AND PERSONAL’ Black ink on cut out paper

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16 Unitary pieces inspired by tracing electron scanning microscope images of human body parts – each piece app. 870cm diameter.

The act of cutting out the ‘specimens’,  projecting light on them and viewing the shadow image on the wall echoes the work of the researcher operating the microscope.

Each one of us is a mystery, to each other, and very often to ourselves. I feel myself in ‘collaboration’ with those unknown scientists who reveal patterns for purposes different to mine, but who make their marks out of the sensations and movements of the same human ‘stuff’.

Through the lens of the scanning electron microscope the scientist unveils the inner beauty of human physicality. Drawing inspiration from its images, my work transforms and transports them into another world where the eye draws the object back into the interior.

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This piece was derived from a pulmonary artery in a lung ….

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…. this piece from an embryo in the womb.

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…. the piece above is a fingerprint

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…. this piece was derived from a kidney.

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…. and above is sperm

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Above, the pieces were displayed in Burnlaw Centre’s ‘Temple’.

‘MEDITATION’ An assemblage of heat shrunk plastic on wire

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“The spiral is an attempt at controlling chaos. It has two directions. Where do you place yourself; at the periphery or at the vortex? Beginning at the outside is the fear of losing control; the winding in is a tightening, a retreating, a compacting to the point of disappearance. Beginning at the centre is affirmation, the move outward is a representation of giving, and giving up control.” Meyer-Thoss

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A little piece of interesting information about spirals is that there are many kinds. I discovered that Jakob Bernoulli, a Swiss mathematician (1654-1705), asked that his tombstone, in the Munster church in Basel, was decorated with his favourite, a logarithmic spiral. …….

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…. It was accompanied by the Latin text ‘eadem mutata resurgo’ which roughly means ‘although changed, still remaining the same’ which was a reference to the way the curve remains intact in a logarithmic spiral.

‘FIELD MUSIC’ 20 Pieces of texture with 20 soundscapes of rubbings

Field Music developed from monoprints of rubbings taken from various textured surfaces. A fragment of the rubbing was placed on a musical stave, and I played on my accordion the predominant marks that fell on the stave. The ‘music’ was recorded with other relevant sounds to the original object. I wrote haikus as words to Field Music. The monoprints were made into a book and the sounds recorded on CD so that as the pages are turned one can hear the ‘music’.

Front Page of 'Field Music'

Front Page of 'Field Music'

Monoprint of river gravel

Monoprint of river gravel

Monoprint of willow tree bark

Monoprint of willow tree bark

Haiku - the words to the music of the willow tree

Haiku - the words to the music of the willow tree

Sandstone pillar monoprint

Sandstone pillar monoprint

Sandstone pillar haiku

Sandstone pillar haiku

CD and box

CD and box

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