Showing posts with label entymology. Show all posts
Showing posts with label entymology. Show all posts

Friday, February 22, 2013

for the bees

One of the things I'm working on is an exhibit about the local biodiversity of bees. I've brought you art made by artists who collaborate with bees, like Hilary Berseth, and Aganetha Dyck. Since I have bees on the brain, today, I'll bring you more interesting bee projects.


K-abeilles Hotel for Bees, Muttersholtz, France, by: atelierd.org. Photo: Stephane Spach. Source: architizer.com



The K-abeilles Hotel for Bees, is a structure hut with shelter for people as well as micro-housings for wild bees in the outside hexagonal compartments which provide a variety of nesting materials, in Muttersholtz, France.


K-abeilles Hotel for Bees, Muttersholtz, France, by: atelierd.org. Photo: Stephane Spach. Source: architizer.com




The Microbial Home / 2011 - Peter Gal | Product designer | Amsterdam Source: petergal.com



This is but a small part of Peter Gal's vision for 'The Microbial Home', "a domestic ecosystem which tackles the issues of energy, lighting, cleaning, and human waste disposal, embodied in a series of different components." The 'Urban beehive' would be a bee habitat within the home to provide honey and wax as well as awareness of bees and their importance for the home owner.





The Microbial Home / 2011 - Peter Gal | Product designer | Amsterdam Source: petergal.com












A medical student in France in the early nineteenth-century, Dr. Louis Thomas Jerôme Auzoux (1797-1880), frustrated with the sparcity of anatomical models and the expense of wax, was inspired by papier-mâché puppet and doll-making techniques of the day. He developed his “Anatomie Clastique” approach making 'disectable' hardened paste paper models in separate parts which could be assembled and disassembled to see better understand the anatomy. (Read about his anatomical papier-mâché model factory here).


IMAGE: Detail from Penelope Stewart’s beeswax chamber at the Musée Barthète, inspired by the permanent collection. Photo courtesy of the artist. Source: ediblegeography.com via minouette on Pinterest

IMAGE: Detail from Penelope Stewart’s Apian Screen, via Toronto’s Harbourfront Centre. Photo courtesy of the artist. Source: ediblegeography.com via minouette on Pinterest





Canadian artist Penelope Stewart has made a number installation with beeswax including what she calls 'Sensory Architecture': immersive environments completed tiled with beeswax tiles, so the viewer in inside a sort of bespoke human beehive.

Similarly, German artist Wolfgang Laib used slabs of beeswax to construct a narrow, dim, sort of beeswax lined closet called Wachsraum at the Museum De Pont in the Netherlands.


Wolfgang Laib’s beeswax chambers: on the left is his 1992 Wachsraum at the Museum De Pont, and on the right is the cover of Wolfgang Laib – A Scented Journey, a booklet documenting the construction of a beeswax space in 1994, at the Henry Moore Foundation Studio in Halifax. Source: ediblegeography.com via minouette on Pinterest




I had made one linocut of bumblebee, when a conversation with local audio artist Sarah Peebles got me interested in making a whole series of prints highlighting how little our own native bees ressemble or sound like honey bees. Check out Reasonating Bodies. As part of this project about bee biodiversity, she's made a series of art installations including habitats for solitary bees, and listening stations so you can hear all the bee activity like what is shown below. I also really enjoyed the Resonating Bodies trading cards I got at Nuit Blanch at the Wychwood Barns a few years ago. There are several, complete with DNA barcodes, like the one shown below.





Resonating Bodies trading cards. Source: resonatingbodies.wordpress.com via minouette on Pinterest



Sunday, January 3, 2010

mapping life: intersection of art & science

Simon Evans paints and weaves and creates maps, whether that be of a scientific illustration of human anatomy, a town wherein all is whited out, a subway map with names replaced with bizzare connotations, the entirety of his possessions, or an imaginary version of the world. This reminds me of the delightful (illustrated and annotated) novel The Collected Works of T.S. Spivet by Reif Larson (which you should go read immediately, if not sooner). T.S. (Tecumseh Sparrow) is 12, and lives in Divide, MT, and maps everything in his life experience (from the distribution of trash in Chicago, to means of not appearing lonely, to the frequency of arm movements during his father's drinking a glass of whiskey, to the mating dance of beetles). Simon Evans does the same, with artistic license, rather than strict empiricism of the modern-day Humboltian cartography protegy Spivet.


Symptoms of Loneliness, 2009
Pen, paper, scotch tape, correction fluid
28 1/2 X 39 3/8 inches



Home Country, 2008-9
Paper weaving
58 5/8 X 42 1/8 inches





Lemuel Gulliver, 2004-5
Mixed media on paper
30.25 x 44 inches



Different Drugs, 2004
Mixed media on paper
19.75 x 26 inches



The World, 2003
Mixed media on paper
60 x 84 inches


Evans' work, though less abstract, reminds me of natural phenomena paintings of Paterson Ewen. (I came across Evans via but does it float). I wrote more about The Collected Works of T.S. Spivet here. Even the website somehow managed to move me. The novel is a thing of beauty not to be missed!

Carly Waito (one half of Coe and Waito, previously featured in magpie & whiskeyjack's post roccocco jellyfish) has been painting minerals. (I found this out both via dear ada and via sara titanic whose blog includes photos of Carly's process and who has written an article about her studio visit for Now magazine). I've been thinking about depicting minerals for a long time (you know, I am an earth scientist after all, and it is mystifying, though self-evident that crystals and gems are present in the zeitgeist, and they are perfect for the conceptual wunderkammer I am secretly gathering)... but while they make an unwiedly subject for a relief print Waito's delicate, precise, luminous portraits with their perfect imperfections are exactly what is called for. Enjoy!


bornite ~ oil on masonite ~ 7" x 6.5" The common name of this mineral (for obvious reasons) is peacock ore.


Hessonite, Asbestos ~ oil on masonite ~ 6" x 6"


Amethyst 2 ~ oil on masonite ~ 5.5" x 7".

If you are in Toronto, you can see these paintings for yourself at the group show Little Crowns, at Narwhal. (If you aren't, note the dimensions - unlike Evans' maps, these portraits are small).

Scientific illustrator Cornelia Hesse-Honegger is a real-life artist-researcher whose artwork is science in and of itself. Her sensitive, beautiful watercolours of morphologically disturbed insects, including, for instance, those she has gathered in the fallout region surrounding Chernobyl both are portraits in the artistic sense and scientific evidence. She has also gathered and illustrated insects from other regions which may have radioactive contamination. There is something delightfully 19th century about gathering and illustrating specimens of insects, but as we persist in changing our environment, the insects themselves will change in turn, and require such careful descriptive art and science.


Drosophila melanogaster, head and abdomen
Head and abdomen are disturbed.
Watercolor, Zürich 1987
(specimen from Chernobyl)


37 different Ladybird Beetles from Switzerland
Watercolor, 1976 - 1981



Ambush bug near Three Mile Island, USA
Ventral: the left side front foot is damaged; the right side one has a dark spot, as well as Watercolor, New Cumberland / Zürich 1991


Where fields intersect ideas clash, but the clash itself can be fruitful; never discount what fresh eyes can see.

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