At the beginning of my work as visual artist, there's my interest, since childhood, natural sciences, and through them to life in all its dimensions. I've always drawn by instinct and what interested me most was the course of natural science, the observation of microscopic life, with the most baroque forms it can take. If I become a scientist, I would have explored the life of the cells and conducted experiments to study their behavior.
The circumstances decided otherwise, it is with an artistic vision that I revived my passion for the natural sciences. What I want to show today is imagination at work in a biological context and digital. The media that I chose , drawing, sculpture, video, are all in the service of this idea: create a hybrid world, to meet the organic and digital. As science advances by a dialectic between hypotheses and refutations / confirmations, I want to move my practice as a visual artist with a set of questions, essays, called into question. My animals, my critters, my "bio-digital chimeras," are the result of tests, attempted, deletions, and even more hybrids.
"Hybridization" is the word for me certainly the best. Through this I try to represent an image of complexity. When I start a another chimera, the starting point is not as important as the relationship is between all forms. I starte drawing my features as a first puzzle piece that can have any shape ... but not any of either: it is necessary that this form makes it possible to create a new form. One of the thinkers who helped me move forward in this process of creation, the biologist and philosopher Francisco Varela said that life exists only in creating its own figures. A cell constantly built his own body. It differentiates itself perpetually in the previous cell.
In my practice as a visual artist, I develop compositions inspired by the functioning of the alive, but relied on personal assumptions. I propose such a process of co-evolution between the hybrid and imaginary animals and plants. Or I propose a type of hybridization between the live animal and digital hearing aids that are and will be part of our environment. As if the digital and electronic materials had entered a process of self-poiesis of life.
In doing so, I claim to read non-scientific knowledge. I ask that biology is more descriptive, but it creates building blocks, like a construction kit, which I will be able to enter into what I like. In short, I try the vision of science that we reconcile with the imaginary. But I also remember that science was never separated from the arts and the two practices seem to result from one long reverie.
My bio-digital chimeras are not actually cells that would act like machines within a larger machine. Perhaps it is why they are all equipped with one eye. Each of them has on the contrary his personality, his identity. As Francisco Varela explains, the simplest cell has a consciousness. It is not a receiver who would act in response to stimulation. My chimeras have eyes because they see their environment, they interact with each other, but also perhaps because they look the viewer. They created a world, and they question the audience about the meaning of this world.
Reconstructing the laws and the workings of nature like a DIY, I finally ask the time in which we live, where science touches the finger its object of study, so close and so strong that sometimes could be suspected of creating his own reality. In recognition of this creative dimension of contemporary science, some artists have decided that they could take over the alive body and change it, to make living works of art while other artists make a living spectacle. My way, in turn, still follow the fascination of living and attempts to create new worlds, autonomous, where the best will be to achieve bring new visions.
Golnaz - Fall 2011
Edited by Xavier Malbreil
The circumstances decided otherwise, it is with an artistic vision that I revived my passion for the natural sciences. What I want to show today is imagination at work in a biological context and digital. The media that I chose , drawing, sculpture, video, are all in the service of this idea: create a hybrid world, to meet the organic and digital. As science advances by a dialectic between hypotheses and refutations / confirmations, I want to move my practice as a visual artist with a set of questions, essays, called into question. My animals, my critters, my "bio-digital chimeras," are the result of tests, attempted, deletions, and even more hybrids.
"Hybridization" is the word for me certainly the best. Through this I try to represent an image of complexity. When I start a another chimera, the starting point is not as important as the relationship is between all forms. I starte drawing my features as a first puzzle piece that can have any shape ... but not any of either: it is necessary that this form makes it possible to create a new form. One of the thinkers who helped me move forward in this process of creation, the biologist and philosopher Francisco Varela said that life exists only in creating its own figures. A cell constantly built his own body. It differentiates itself perpetually in the previous cell.
In my practice as a visual artist, I develop compositions inspired by the functioning of the alive, but relied on personal assumptions. I propose such a process of co-evolution between the hybrid and imaginary animals and plants. Or I propose a type of hybridization between the live animal and digital hearing aids that are and will be part of our environment. As if the digital and electronic materials had entered a process of self-poiesis of life.
In doing so, I claim to read non-scientific knowledge. I ask that biology is more descriptive, but it creates building blocks, like a construction kit, which I will be able to enter into what I like. In short, I try the vision of science that we reconcile with the imaginary. But I also remember that science was never separated from the arts and the two practices seem to result from one long reverie.
My bio-digital chimeras are not actually cells that would act like machines within a larger machine. Perhaps it is why they are all equipped with one eye. Each of them has on the contrary his personality, his identity. As Francisco Varela explains, the simplest cell has a consciousness. It is not a receiver who would act in response to stimulation. My chimeras have eyes because they see their environment, they interact with each other, but also perhaps because they look the viewer. They created a world, and they question the audience about the meaning of this world.
Reconstructing the laws and the workings of nature like a DIY, I finally ask the time in which we live, where science touches the finger its object of study, so close and so strong that sometimes could be suspected of creating his own reality. In recognition of this creative dimension of contemporary science, some artists have decided that they could take over the alive body and change it, to make living works of art while other artists make a living spectacle. My way, in turn, still follow the fascination of living and attempts to create new worlds, autonomous, where the best will be to achieve bring new visions.
Golnaz - Fall 2011
Edited by Xavier Malbreil
