Sciences and the arts are re-entering each other’s orbits in a burst of boundary-blurring creativity, Arthur I. Miller observes
Sciart – science-inspired art – still retains something of the cachet of the underground, but it now seems poised to emerge into the light of day.
Take, for example, this year’s Ars Electronica, the leading annual festival of digital art, which took place from 30 August to 3 September in Linz, Austria. It was overflowing with participants and spectators eager to see the latest electronic art, including Seiko Mikami’s breathtaking installation Desire of Codes, a room filled with robotic search arms, sensors and video feedback, sweeping the viewer into another universe of being.
In London, the latest in GV Gallery’s regular shows of sciart has just opened. Graphite features works such as Anais Tondeur’s photographic installation travelling back 350 million years to the formation of a vein of graphite in central France. Meanwhile, pioneering work is being done by Goldsmiths, University of London students, among them Paul Prudence, who in a recent show combined otherworldly sound with whirling gyroscopic images evoking the fourth dimension.
More and more frequently, artists and scientists are working together to create intriguing and spectacular works that transcend categorisation.