PowerPoint Presentation
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Concept StatementMoral and ethical concerns regarding the
potential misuse of genetic engineering provides the driving force
behind my work. I reference historical instances of extreme
experimentation to provide a tangible link between the real world
and the Frankenstein cautionary tale created here. In doing this I
open a dialog about the implications of utilizing technological
advancements without consideration of their consequences.
This project came from a simple concern that emerged from my
curiosity. That concern was about how the natural world and the
animals that inhabit it would or could be affected though emerging
technologies and science such as genetic engineering. 3
Artist StatementThe early to mid twentieth century Russian
scientist Dzhon Dou inspires these images. Although the communist
party purged the formal records, I have recreated a visual
representation of his experiments from notes and eyewitness
accounts that remain. These examples of extreme experimentation
demonstrate humanitys lack of moral discretion. A new world of
genetic engineering, cloning, and other emerging technologies such
as gene splicing now challenges our ability to remain within
ethical boundaries. Dou focused upon the creation and modification
of animals with grafting, transplantation, and artificial
insemination, but he seems to have produced no viable specimens.
His legacy is one of failures. My work warns of the thoughtless
exploitation of technologies leading to an authentic realization of
a Frankenstein scenario.
In an attempt to address these concerns I began to research
historical instances of extreme animal experimentation. Through
this research I became familiar with instance after instance where
the bounds of ethical practices were stretched and often
overlooked. 4
The Vacanti mouse-1997-
I do not believe that scientific advancement is inherently bad.
Quite the contrary. I believe that science merely provides 5
The Vacanti mouse-1997-ear-shaped cartilage structure grown by
seeding cow cartilage cells into a biodegradable ear-shaped mold
and then implanted under the skin of the mouse
I do not believe that scientific advancement is inherently bad.
Quite the contrary. I believe that science merely provides tool by
which we can create good or bad outcomes.6
The Belgium Blue
The Belgium BlueSelectively bred, now artificially bred to
exploit a defective gene that produces atypical double muscle.
Nor are all practices new to the realm of animal modification.
Here we see an example as to how modern technologies have been used
in what was traditionally achieved through selective breeding
practices.8
Fluorescent Felines-2007-South Korea
Fluorescent Felines-2007-South Korea
DNA altered and then cloned other cats from it.
Purpose: Scientists say the ability to engineer animals with
fluorescent proteins will enable them to artificially create
animals with human genetic diseases.
However we are currently seeing a boon in the proliferation of
genetic research, modification and creation of living organism.
What could be describes as a fairly benign example of gene
manipulation in this glowing cat, does carry more serious
connotations; that we are creating animals as vessels for human
genetic diseases
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Vladimir Demikhov-1930s-1950s-Former U.S.S.R.
Vladimir Demikhov-1930s-1950s-Former U.S.S.R.Transplantations of
dogs heads. Author: Experimental Transplantation of vital
organs
Experiments such as the grafting of one dog onto the body of
another provides the backbone for my project. Instances such as
these which have occurred really provide the material by which I
based this body of work. So influential was the work of Demikhov
that I decided to create my narrative around the time and place
where he operated. He is the model for my fictitious scientist,
Dzhon Dou, and his work provides a context for my project. 12
Sergei Brukhonenko-Circa 1939-Former U.S.S.R.Provided the
foundation for Vladimir Demikhovs Dogs and Dr. Robert Whites (USA)
monkey head transplants
Demikhovs work was not done alone however, the State funded his
work and others such as Sergei Brukhonenko whos research enabled
him to perform his experiments. I think it is important to note
that extreme experimentations of this nature were not isolated to a
lone scientists, but rather a group which was supported and well
funded.13
Vladimir Demikhov-1930s-1950s-Former U.S.S.R.Received U.S.S.R
state prize and Order of merit for the fatherlandas a result of his
work
These archaic methods do serve as research opportunities, but
then again at what costs?14
Dr. Robert White-1970 -U.S.A.Monkey Head Transplant
Soviet era scientists were not alone in their pursuit of pushing
boundaries.15
Dr. Robert White-1970 -U.S.A.n 1970, after a long series of
preliminary experiments, White performed a transplant of one monkey
head onto the body of another monkey. Because the surgery included
severing the spine at the neck, the subjects were paralyzed from
the neck down. After the surgery, because the cranial nerves within
the brain were still intact and nourished by the circulatory system
from the new body, the monkey could still hear, smell, taste, eat
and follow objects with its eyes.
Mims, Christopher. "First-Ever Human Head Transplant is now
possible, says Neuroscientist, July 1, 2013"
Dr. Robert White, while controversial, was considered a
groundbreaking scientist and received awards and accolades for his
monkey head transplants. What is most troubling for me in regards
to his actions were that they were committed knowing failure was
imminent. In essence he was practicing a technique which would
require future technologies to reconnect the severed spinal cords,
but in the meantime only marked a frightening death for his test
subject. 16
Our actions in the past worry me regarding our ability to
harness and ethically apply the wide range of opportunities
presented by genetic engineering. 17
Where success equates to failure.
A physical manifestation of desired goals, such as brining back
the extinct mastodon, marks an ethical failing to me.19
Themes found in project
Moral & Ethical Concerns about genetic engineering -
Fabricating a narrative in order to explore truth
The primary themes I investigate deal with the moral concerns I
have about emerging scientific and technological advancements as
well as exploring how a fictitious narrative can be used to explore
and arrive at a better understanding of truth.20
The Role of the Cautionary Tale
It is a format common to many cultures:1) It deals with a taboo
subject2) The narrative structure then is advanced despite warnings
or concerns which have been brought to light.3) The proponent of
this (these) acts is then brought down as a result of their
actions.
The primary themes I investigate deal with the moral concerns I
have about emerging scientific and technological advancements as
well as exploring how a fictitious narrative can be used to explore
and arrive at a better understanding of truth.21
The Role of the Cautionary Tale
Examples of the cautionary tale in our culture:
The primary themes I investigate deal with the moral concerns I
have about emerging scientific and technological advancements as
well as exploring how a fictitious narrative can be used to explore
and arrive at a better understanding of truth.22
Visual Influences
Visual Influences
Visual Influences
Visual Influences
Leonardo Da Vinci1452-1519
My visual influences provided inspiration and a way in which I
could model and frame my project. Leonard da Vinci encompasses both
the artist and the scientist which I found so interesting and
compelling. Like Demikhov he was a direct influence on the my
fabricated scientist Dou. 26
Visual Influences
Visual Influences
Visual Influences
Visual InfluencesAnna Atkins1799-1871
Anna Atkins was also important in recognizing the relationship
between art and science. Her cyanotypes resulted in the first
instance of a published book which incorporated modern photographic
methodology. It is important to note that this book was a
collection of scientific specimens that could be used for
identification purposes. 30
Visual Influences
Visual Influences
Visual Influences
Visual InfluencesRoger Fenton1819-1869
Fentons work provides two distinct influential properties for
this body of work. First is aesthetically it offered examples as to
how specimens were photographed and documented. Secondly it is
important to note how he is considered an early documentary
photographer and was known to modify landscapes and scenes in order
to enhance dramatic effect. It was not uncommon for early
photographers to engage in the practice of manipulating the scenes
which they were documenting, but this to me creates ambiguity
regarding the objectivity in this medium and its ability to capture
truth. This notion is important in my body of work because I am
manipulating and exploiting the photograph to give credence to my
narrative. 34
Visual Influences
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Visual InfluencesEadweard Muybridge1830-1904
Muybridges motion studies became important in continuing my
construction of a scientifically based narrative. I looked to
examples such as his in order to create a body of work that could
reasonably suspend the viewers sense of reality and buy into my
discourse. 36
Visual Influences
Visual Influences
Visual Influences
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Visual InfluencesJoan-Foncuberta1955 -
One of the earliest artists to really influence my process in
creating this narrative was Foncuberta. His work with his Fauna
project opened up a world where false narrative and usage of
photography to support it, could challenge the viewers notion as to
what is real.
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Visual Influences
Visual Influences
Visual InfluencesJoel-Peter Witkins1939 -
Joel-Peter Witkins may seem like an odd source as a visual
influence, but I have come to appreciate how atmospheric and
classical his images are. Using traditional methodology he combines
the traits of an artist and craftsman that I appreciate. When I
found myself looking for inspiration, I could return to his body of
work and find something that either evoked a response or prompted
me to explore new considerations.43
Visual Influences
Visual Influences
Visual InfluencesTakayuki Hori
Is a contemporary artists who creates origami sculptures from
X-rays to highlight endangered species along Japans coastal waters.
His usage of X-rays was influential as a guide.46
Visual Influences
Visual Influences
Visual InfluencesChristo and Jeanne-Claude1935 (both) -
It became apparent late in the process of completing this body
of work that I was indeed creating an art instillation. While I
maintain that I was not intending to do so, my work and the
narrative almost necessitated it. The performance art aspect
emerged as I began to place myself in Dous world, in essence I was
committing a type of method acting. As this progressed I began to
investigate the role of the environment in regards to the viewer,
leading me to Christo and Jeanne-Claude. I looked at how they built
not just instillations, but environments that suspends the viewers
sense of reality and also places them in the work, basically asking
them to participate. 49
My body of Work
My Body of Work
Brass Plates
Brass plates evolved from my work using Ferric Chloride acid to
dissolve metal around the transferred resist on the more
traditional copper plate. 51
My Body of Work
Brass Plates
This allows for a relief to emerge. This relief, in the realm of
printing, acts as a negative by which positive paper prints can be
created. This represented a way in which information and art could
be made more accessible.52
My Body of Work
Brass Plates
It also became important to me because I feel as though
producing an image through this process gives it more validity.
Historically, due to the money and time involved with the printing
plate only information deemed to be of value was relegated to this
type of media.53
My Body of Work
Copper Plates
While I feel as though brass carries with it a more romantic
feeling to it, the copper plate is more traditional.54
My Body of Work
Copper Plates
I used both types of metal in this process to not only create
the atmosphere I wanted but also to give a traditional context to
it. 55
My Body of Work
Copper Plates
Brass was not historically used, but embodies a romantic
quality. Copper was historically relevant and so provides some
merit to its the practical use in this narrative. In conjunction
they help to create modern relics.
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My Body of Work
Brass & Copper Plates
I placed them side by side creating a grouping of plates that
represent Dous desire to catalog and create a record of his
experiments. If you view the plate at the top, I inked it and
sealed it as though it were a highly used plate that had seen wear
from its importance. This continues to create ambiguity to the
viewer and further immerse them not in what is real, but rather
what could be real.57
My Body of Work
Presentation of plates
I selected traditional edison bulbs because of the subtle nod to
science and what I think is a subconscious element that further
settles the viewer in a bygone era of experimentation, that in the
case of my project never happened.58
My Body of Work
Specimen Jars
Realizing that details and diversity would become important in
an immersive experience I began to look into alternative methods to
convey my message. 59
My Body of Work
Specimen Jars
Specimen jars jumped out at me. They are associated with the
science lab and embody the uncomfortable feeling of preserving and
containing that which one lived. 60
My Body of Work
Specimen Jars
If the purpose of the specimen jar is to collect that which once
was living then my creations in the jar take on qualities of those
which are real. 61
My Body of Work
Specimen Jars
These jars add an element that I felt was needed in creating an
installation by being three dimensional. 62
My Body of Work
X-rays
The role of the X-ray was important because it was the starting
point for my creatures.63
My Body of Work
X-rays
The X-ray is a unique photograph. It utilizes film, exposure and
creates an image, but isnt often considered in the heritage of
photography. It is almost exclusively used for scientific
endeavors, although there have been some limited applications in
art. I looked at the X-ray because of its connection and
relationship with the scientific community as well as how it
engages peoples imagination.64
My Body of Work
X-rays
Appropriation of X-rays which were then modified and manipulated
to create monstrosities was my starting point.65
My Body of Work
X-rays
Every example of methodology used in this project began as a
fabricated X-ray.66
My Body of Work
Resin Coated Pigment Prints
In an effort to maintain a handmade element through the course
of this project I looked to technics and practices outside of the
art world.67
My Body of Work
Resin Coated Pigment Prints
Realizing how the resin used to glass my surfboard protected and
preserved the foam core underneath led me to applying these
technics to large pigment prints.68
My Body of Work
Resin Coated Pigment Prints
In this I feel as though the resin acts almost as if it were
amber encasing fossils. 69
My Body of Work
Salt Prints
Salt Prints are similar as the cyanotypes in this process. In
the context of this narrative they represent a cheap way of
reproducing images70
My Body of Work
Cyanotype
A large pigment print of a traditionally produced cyanotype was
employed at one end of the instillation. I wanted it to act as
though it were a banner which could be seen at a natural history
museum. The idea of maintaining a feeling that this work had some
academic merit was important to the narrative.71
My Body of Work
Video
Inclusion of animations in this movie continues the process of
creating confusion and a blending of truth and fiction. Film clips
were important as a piece of propaganda to the former Soviet Union.
Because of this I created something that could be seen as an
example of technological/mediacal achievement.72
My Body of Work
Details and Small pieces
Small details became paramount in creating subtle cues leading
the viewer deeper into my world. The more immersive I can make the
exhibition, the better the likelihood my viewer will become more
thoughtful and reflective to the material.73
My Body of Work
Details and Small pieces
Items such as this ask the viewer to consider multiple things.
Being a metal transferred print, covered in resin and placed in a
frame such as this, the viewer will have to consider how this was
made. Then they will have to consider why was it made? In the
narrative context was this a keepsake? A gift? A small bauble given
as a token of hard work? I wanted to leave enough room for the
viewer to use their imagination, but keep it confined to the issues
within the body of work. 74
My Body of Work
Details and Small pieces
Actual antique medial devices once again add realistic
characteristics promoting confusion between that which is real and
that which is my fabrications. Crates and other various items
further help with the illusion that this instillation has resulted
from collecting Dous items that were used and acquired to
supplement my work which was inspired by him a man who never
existed 75
My Body of Work
Details and Small pieces
Throughout this body of work I placed small indicators and hints
as to how the processs I used evolved. In this image you can see
the first copper etching I produced in the background. 76
My Body of Work
Details and Small pieces
Mistakes were included as well. Just as Dous mistakes create his
legacy, items such as the copper plate in the background which was
reduced to tinfoil by misjudging my acid mixture, were shown. I
think the element of failure is paramount in this project and as
such, I included my early experiments or failures.77
Role of the narrative,The art Installation&Influence of
Performance art
I believe that all cohesive bodies of art inherently contain a
narrative. My narrative was created to move the viewer into a
specific time and place. While I do not promote my body of work as
being a piece of performance art, I do note shared qualities. I did
assume qualities of my character Dzhon Dou and as a result I had to
try to, in essence perform a sort of method acting. My intention
was not to become my character, but rather create a character that
was based in reality. As a result of this desire I had to draw upon
characteristics I embodied in the formulation of my scientist.The
creation of an art instillation was an evolutionary step rather
than intentional. As I produced images and objects, I came to
believe that I needed to create an environment that would aid in
the process of immersion. I feel as though creating an instillation
piece is natural in my attempts to create a cohesive narrative
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Role of the narrative,The art installation&Influence of
Performance art
I believe that all cohesive bodies of art inherently contain a
narrative. My narrative was created to move the viewer into a
specific time and place. While I do not promote my body of work as
being a piece of performance art, I do note shared qualities. I did
assume qualities of my character Dzhon Dou and as a result I had to
try to, in essence perform a sort of method acting. My intention
was not to become my character, but rather create a character that
was based in reality. As a result of this desire I had to draw upon
characteristics I embodied in the formulation of my scientist.The
creation of an art instillation was an evolutionary step rather
than intentional. As I produced images and objects, I came to
believe that I needed to create an environment that would aid in
the process of immersion. I feel as though creating an instillation
piece is natural in my attempts to create a cohesive narrative
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Continuation &Future Projects
Continuation of this body of WorkExpansion and further
exploration
I believe that all cohesive bodies of art inherently contain a
narrative. My narrative was created to move the viewer into a
specific time and place. While I do not promote my body of work as
being a piece of performance art, I do note shared qualities. I did
assume qualities of my character Dzhon Dou and as a result I had to
try to, in essence perform a sort of method acting. My intention
was not to become my character, but rather create a character that
was based in reality. As a result of this desire I had to draw upon
characteristics I embodied in the formulation of my scientist.The
creation of an art instillation was an evolutionary step rather
than intentional. As I produced images and objects, I came to
believe that I needed to create an environment that would aid in
the process of immersion. I feel as though creating an instillation
piece is natural in my attempts to create a cohesive narrative
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Continuation &Future Projects
Continuation of this body of WorkExpansion and further
exploration
Projects that use this material as a basis for teaching and
educationExample; childrens book
I believe that all cohesive bodies of art inherently contain a
narrative. My narrative was created to move the viewer into a
specific time and place. While I do not promote my body of work as
being a piece of performance art, I do note shared qualities. I did
assume qualities of my character Dzhon Dou and as a result I had to
try to, in essence perform a sort of method acting. My intention
was not to become my character, but rather create a character that
was based in reality. As a result of this desire I had to draw upon
characteristics I embodied in the formulation of my scientist.The
creation of an art instillation was an evolutionary step rather
than intentional. As I produced images and objects, I came to
believe that I needed to create an environment that would aid in
the process of immersion. I feel as though creating an instillation
piece is natural in my attempts to create a cohesive narrative
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Continuation &Future Projects
Continuation of this body of WorkExpansion and further
exploration
Projects that use this material as a basis for teaching and
educationExample; childrens book
The creation of large scale works in copper that highlight the
wonder of the natural world around us
I believe that all cohesive bodies of art inherently contain a
narrative. My narrative was created to move the viewer into a
specific time and place. While I do not promote my body of work as
being a piece of performance art, I do note shared qualities. I did
assume qualities of my character Dzhon Dou and as a result I had to
try to, in essence perform a sort of method acting. My intention
was not to become my character, but rather create a character that
was based in reality. As a result of this desire I had to draw upon
characteristics I embodied in the formulation of my scientist.The
creation of an art instillation was an evolutionary step rather
than intentional. As I produced images and objects, I came to
believe that I needed to create an environment that would aid in
the process of immersion. I feel as though creating an instillation
piece is natural in my attempts to create a cohesive narrative
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Conclusion
When falsehood can look so like the truth, who can assure
themselves of certain happiness? Mary Shelley, Frankenstein
In the fabricated narrative of this project, I embed my honest
concerns and invite the viewer to participate in this discourse as
to what is right, and that which is wrong when dealing with life
and the pursuit of scientific and technological advancement.
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