ARTIST: Angela Palmer
Process: Each portrait is created by drawing or engraving the resulting details of MRI and CT scans of the subject onto glass sheets. The portrait is built up layer by layer on multiple sheets, creating a subject that can be viewed only from certain angles. From above and from the side, the image vanishes and the viewer is left to contemplate space
Concept: Developed from a love of maps. By marrying medical technology with her artistic practice, she has managed to visualize the ‘inner anatomical architecture’ of the human body, revealing the intimate structures that make up the outer features that typical portraiture depicts. It also allows for fascinating contemplation of the human body itself, showing what is going on beneath the surface on both a functional and psychological level.
ARTIST: Donna Ong
Process: Long acrylic block made up of layers. Sandwiched between the layers were pieces of Chinese Ink paintings.
Concept: (http://boonscafe.wordpress.com/2009/10/18/548/) Dissolution, here, refers to ‘the action or process of dissolving’, the disintegration of perspective and scale. The illusion of 3D space created by perspective is questioned. This flattening could allegorically symbolise the merger of points of view, or ways of looking. This is consistent with Donna Ong’s interest in inward looking themes and objects, not unlike (a lot younger) Louis Bourgeois. The dissolution, on a grander scale symbolises the melting pot of cultures, technologies and sciences. The scrutiny and critique of a reproduction of a Chinese landscape also suggest the need for us to examine our own roots and culture. On another level, it questions ‘ways of looking’ begging us to uncover our layers of mis/understanding of knowledge.
ARTIST: Nobuhiro Nakanishi
Concept: The theme of my work is “the physical that permeates into the art piece.” In a foggy landscape, we no longer see what we are usually able to see – the distance to the traffic light, the silhouette of the trees, the slope of the ground. Silhouettes, distance and horizontal sense all become vague. When we perceive this vagueness, the water inside the retina and skin dissolve outwardly toward the infinite space of the body surface. The landscape continues to flow, withholding us from grasping anything solid. By capturing spatial change and the infinite flow of time, I strive to produce art that creates movement between the artwork itself and the viewer’s experience of the artwork.
In simpler terms: (http://www.kashyahildebrand.org/zurich/nakanishi/nakanishi002.html) Through such visual and tactile experiences, there is no limit to what our vision may encounter. With awareness for detail, as well as the ability to see the whole, we are conscious of the mass bulging within the surrounding space. Cognizant of the other side that we are never able to see, we simultaneously fill in what we can and cannot see.