Artist Statement
I work within the field of art science as a bio artist. Unlike many artists who utilize scientific techniques to develop their art, I strive to maintain a balance of both fields in my work. I strive to not be ‘just’ an artist or ‘just’ a scientist, but to blur the line between the two disciplines. Neither science nor art can exist without the other, and it is important to communicate that to viewers.
I primarily utilize fungi in my work, often with wood as a medium. Two intertwining processes drive me – a return to natural ornamentation techniques and the promotion of parergonal aesthetics. Wood, as a traditionally functional material, holds a unique place within human emotions. The use of fungi and natural decay processes not only creates ornament (instead of dyes and stains), but challenges perceptions of functionality. Decay fungi are generally disdained, but wood is held in high regard. The meeting of both can create emotional conflict and challenges the viewer to reevaluate their position on functional wood and natural ornamentation processes.
I currently work as a funded researcher within bio-art. I collaborate with both scientists and artists in the development and utilization of spalted wood, and often serve as a translator between the two fields. My current work involves the development of colored pigments on wood by mold fungi. As molds are some of the most reviled fungi in the world, their use in functional art is controversial and challenges our core assumptions on toxicity, functionality, and understanding of the natural world.
If you would like to learn more about spalting, try some reading! You can read my Fine Woodworking article here, or keep up with my spalting blog on Fine Woodworking’s website here.
Looking for the science behind the art? Try some scholarly publications:
