UBIQUITOUS: MIGRATION OF PATHOGENS
Artist Statement
From a global perspective, advances in transportation have greatly aided the transmission of deadly pathogens from one corner of the world to another. With no boundaries or barriers, a flight, cruise ship or semi-truck can greatly speed the delivery of invisible viruses and bacteria to distant blood streams or nasal passages. Our world map through the perspective of microbes is a new one. It is random, rearranged, and ambiguous. Points A and Z have merged.
(*See below for how this installation was made)
From a global perspective, advances in transportation have greatly aided the transmission of deadly pathogens from one corner of the world to another. With no boundaries or barriers, a flight, cruise ship or semi-truck can greatly speed the delivery of invisible viruses and bacteria to distant blood streams or nasal passages. Our world map through the perspective of microbes is a new one. It is random, rearranged, and ambiguous. Points A and Z have merged.
(*See below for how this installation was made)
Migration (detail); Liquistone and Glass, 10' x 3.5' x 2.5"
Ubiquitous: migration of pathogens hopes to address the ever-changing trajectory of the microbe in a fast-paced world of expanding population. Though microbes existed long before man, their ability to adapt, evolve, and jump species became a necessity as humankind progressed from hunter/gatherer, to farmer, to merchant sailor to today’s world traveler. The work in this exhibition explores migration and ubiquity, but also juxtaposes microbe versus man and recognizes the importance of balance in nature. As we traverse through time, affecting our earth and climate, the microbe mutates and adapts in an effort to survive in new environments and hosts. Though we perceive beauty in what is balanced, harmonious, and nurturing, innocuous beauty can be a microscopic step away from being deadly.
(**See below for how these feet were cast)
(**See below for how these feet were cast)
This exhibition combines art and science, abstraction and realism, light and shadow in an attempt to express how I view the invisible microbe and its migration, greatly aided by mankind. I am indebted to the Rocky Mountain Laboratories of Hamilton, Montana, a level IV facility, for sharing their electron microscopic images of pathogens with me, many of which have inspired this body of work.
(***See below for information about these graphite drawings on ground glass)
(***See below for information about these graphite drawings on ground glass)
s*Ubiquitous is an etched glass and wood installation which evolved over a two year process. I first developed a design containing images of several pathogens, including Salmonella, Streptococcus, Parainfluenza, MRSA, Herpes, and Pneumonia. These images were inspired by public access electron micrographs provided by the Rocky Mountain Laboratories in Hamilton, Montana (one of the few Level IV facilities in the United States). The design for these three large glass panels, each 6' x 4' x 1/4", was etched chemically. My idea was to overlay the etched glass panels in front of a wall mounted image of the world map. However, it took me eighteen months to design the black map of the world. It was challenging because though I wanted to present the idea of migration of pathogens throughout the world, I didn't want to use the world map we know. Therefore, I began to slice the world into pieces, and recombine them in a different way. I hoped that by doing this, the viewer would see that in the eyes of a pathogen, there are no boundaries; point A and Z have merged. As we migrate from place to place via car, train, plane, or by sea, invisible microbes hitch a ride and learn to adapt to their new surroundings.
**Nearly 100 individuals allowed me to cast one of their feet. The volunteers ranged from 2 months old to 70+, and included both male, female, all occupations, nationalities, and size. I used alginate molds for each foot, and liquistone (plaster and gypsum) was poured into each mold to make the foot casts, which are highly detailed, hyperrealistic representations of the human foot. The feet were displayed on glass which was elevated over a white base, 4 inches above the floor. In this way, the feet appear to float, and also cast interesting shadows which mimic the shapes of pathogens. They were left white to draw attention to the nondiscrimination of pathogens. Regardless of age, race, occupation or religion. We are all equally vulnerable to the invisible microbe.
*** All the drawings in this exhibition were done on a ground glass surface. This surface is obtained by rubbing two pieces of glass together with carborundum and water until they are evenly textured. Several of these drawings are multi-layered, with one to two additional drawings on mylar beneath the glass plate. I did this to create a sense of depth.
**Nearly 100 individuals allowed me to cast one of their feet. The volunteers ranged from 2 months old to 70+, and included both male, female, all occupations, nationalities, and size. I used alginate molds for each foot, and liquistone (plaster and gypsum) was poured into each mold to make the foot casts, which are highly detailed, hyperrealistic representations of the human foot. The feet were displayed on glass which was elevated over a white base, 4 inches above the floor. In this way, the feet appear to float, and also cast interesting shadows which mimic the shapes of pathogens. They were left white to draw attention to the nondiscrimination of pathogens. Regardless of age, race, occupation or religion. We are all equally vulnerable to the invisible microbe.
*** All the drawings in this exhibition were done on a ground glass surface. This surface is obtained by rubbing two pieces of glass together with carborundum and water until they are evenly textured. Several of these drawings are multi-layered, with one to two additional drawings on mylar beneath the glass plate. I did this to create a sense of depth.
