Abstract
Dust, Drawing and Time is a body of artefacts, an exhibition and two publications, featuring large, hand-drawn or print-made representations of dust particles collected from a specific site and enlarged through laboratory-based digital microscopy.
The research addressed the disconnection between scientific technological imagery and images made by the human hand, and developed approaches to drawing and print that transformed scientific imagery through the physical engagement of surface, weight and material. The enquiry was informed by a theoretical framework based on the writings of Merleau-Ponty and Flusser, whose work highlights differences in the visual perception of images derived through scientific technological approaches and those made through drawing by hand.
Love used a practice-based, multi-method approach to develop a dialogue between scientific and technological imaging and the making of artefacts within the context of fine art drawing and printmaking. Dust was collected from a site of personal significance and taken through a laboratory-based process to achieve enlarged digital images of individual microscopic particles; these were then submitted to digital manipulation and further manual intervention in order to create drawings and laser print artworks for exhibition and publication. The process of graphite drawing mediated between the objective and deeply personal forms of vision to provide the viewer with a new visual experience, introducing concepts from materiality, history and time. The final works offer new ways of seeing the ever-present phenomenon of dust and re-connect scientific image-making to human experience.
The work was first exhibited at GiG Gallery in Munich (2015) and subsequently in a series of exhibitions in England and Germany. It was the subject of a catalogue publication (2017), articles by Love in ‘Journal of Visual Art Practice’ (2015) and ‘Drawing: Research, Theory, Practice’ (2020), and a residency in Germany (2018).
The research addressed the disconnection between scientific technological imagery and images made by the human hand, and developed approaches to drawing and print that transformed scientific imagery through the physical engagement of surface, weight and material. The enquiry was informed by a theoretical framework based on the writings of Merleau-Ponty and Flusser, whose work highlights differences in the visual perception of images derived through scientific technological approaches and those made through drawing by hand.
Love used a practice-based, multi-method approach to develop a dialogue between scientific and technological imaging and the making of artefacts within the context of fine art drawing and printmaking. Dust was collected from a site of personal significance and taken through a laboratory-based process to achieve enlarged digital images of individual microscopic particles; these were then submitted to digital manipulation and further manual intervention in order to create drawings and laser print artworks for exhibition and publication. The process of graphite drawing mediated between the objective and deeply personal forms of vision to provide the viewer with a new visual experience, introducing concepts from materiality, history and time. The final works offer new ways of seeing the ever-present phenomenon of dust and re-connect scientific image-making to human experience.
The work was first exhibited at GiG Gallery in Munich (2015) and subsequently in a series of exhibitions in England and Germany. It was the subject of a catalogue publication (2017), articles by Love in ‘Journal of Visual Art Practice’ (2015) and ‘Drawing: Research, Theory, Practice’ (2020), and a residency in Germany (2018).
| Original language | English |
|---|---|
| Place of Publication | GIG Gallery, Munich, Germany |
| Publication status | Published - Nov 2015 |
