Exhibition Coordinator: Ellen Adams (Anatomy Laboratory Technician, University of Southampton)
We are pleased to welcome a variety of artists to the SSSB art exhibition, which will include work along with the conference themes and in a variety of mediums. For more information on the artwork, please click on the artist's name.
Thanks to Dr Quraishe for loan of the mannequins to display the artwork.
Pascale Pollier: 'The seat of intuition' Oct 2015
Lisa Temple-Cox: 'Probably Roman'
Judith Thomson: 'Alter Ego(s)'
Dr Richard Allen: The Bones of Breakheart Quarry
Gaetan Chretien: 'Ankh - Die Young - Wrathchild'
Arabella Gadd: Untitled Textile Piece 1
Emily Angold-Sanchez: Untitled Textile Piece 2
Professor Joanna Sofaer: 'Reliquary'
Catherine Laws: Untitled work from 'Body and Society' module at the University of Southampton
Ellen Adams (taxidermy) and Clive Lawler (photographer): 'Morning Coffee'
Freya Baxman: An untitled notebook of sketches and drawings
Asansky Li: A selection of sketches from the SSSB logo designer
‘The seat of intuition’ Oct 2015 by Pascale Pollier
MEDIUM: Mixed media wax arm, polymer clay, table, oil paint, oscillator and electronics.
CONTEXT: Inspired by Andreas Vesalius and Frederik Ruysch
Two paintings, one of the pituitary gland and one of the pineal gland, painted on small plinths, are fitted with a transmitter oscillator, which is emitting the Schumanns resonance. A sculpture of a hand prizes the pineal and the pituitary glands out of their bony container; the human skull.
Through my work I seek to unify theories garnered from research into physics, quantum physics and philosophy, and with continued detailed examination of human anatomy try to substantiate and hopefully expand upon the idea that the body is an incredibly ingenious vibration of consciousness and post mortem is the absence of those vibrations.
"Memento, homo ... quia pulvis es, et in pulverem reverteris" (cf. Gn 3:19). "Remember, man, you are dust and to dust you will return."
The seat of intuition, the nature of consciousness, the search for the soul.
The anatomical seat of the human soul has been a controversial matter of discussion in the scientific, philosophical and theological fields throughout history. The pineal gland is a tiny organ in the centre of the brain that played an important role in Descartes' philosophy. He regarded it as the principal seat of the soul and the place in which all our thoughts are formed. The first description of the pineal gland and the first speculations about its functions are to be found in the writings of Galen (ca. 130-ca. 210 CE). Descartes drew on the Galenic concept of spiritus animalis. He thought that the pineal gland was full of animal spirits, brought to it by many small arteries which surround it. Descartes described these animal spirits as “a very fine wind, or rather a very lively and pure flame.” Vesalius, who had been trained in the tradition of Galen, showed that the rete mirabile blood vessel network or wondernet, did not exist in humans, and that the structure of the human brain was very different to Galen’s description. Vesalius nevertheless wrote in a letter to Charles V, which reads as a preface to his books , The Fabrica , that he believed the body to be lodging place and instrument of the immortal soul.
Everything that exists possesses a unique vibratory rate, which resonates with the heartbeat of the cosmos. 7.5 -14Hz is the frequency of the human brain in Alpha mode – The deep relaxation wave when intuition is at its highest. The Schumann Resonance is earths natural magnetic field with a unique harmonic frequency of 7.83Hz. This is known as “ earth's natural brainwave". The Schumann Resonance Field performs the vitally important function of sustaining all life on the planet, through its ability to support and maintain the electromagnetic energy field of all organisms. When Dr. Schumann published his results in the `Technische Physik’ journal, the physician Dr. Ankermueller immediately made the connection between Schumann resonance and the rhythm of brain waves. He was excited to find that the earth had the same natural resonance as some human brain waves.
The absence of Schumann waves creates a similar interesting situation. Professor R. Wever from the Max Planck Institute for Behavioural Physiology in Erling-Andechs, built an underground bunker which completely screened out magnetic fields. Student volunteers lived there for four weeks in this environment. Professor Wever noted that the student's circadian rhythms diverged and that they suffered emotional distress and migraine headaches. After only a brief exposure to 7.8 Hz (the very frequency which had been screened out), the volunteers health stabilized again.
Below is a quote from The Theosophical Forum – February 1941
FUNCTIONS OF THE PINEAL AND PITUITARY GLANDS — G. de Purucker
“Connected with the brain are two wonderful glands; the pineal and the pituitary. The pineal gland is as it were a casement opening out into infinite seas and horizons of light. It is the organ of inspiration, of intuition, of vision, for when the pineal gland is vibrating rapidly, the inner eye is opened and sees infinity; and the aureole or nimbus is the energetic outflow from this activity of the pineal gland.” “The pituitary gland is the lieutenant of the pineal. It is the organ of will and hence also of automatic growth. When the pineal sets the pituitary vibrating in synchrony with its own vibration, you have a god-man, for there is the intellect envisaging infinity, the divinity in the heart speaking and vibrating synchronously with the pineal gland, which sees infinity. Makes all the man a harmony of higher energies — relatively godlike."
‘Probably Roman' by Lisa Temple-Cox
MEDIUM: Chalk and charcoal on brown paper
CONTEXT: This work was created during a short residency at Ipswich Museum and Gallery. I selected from the archaeology store a box containing human remains found at Bridge Farm, Ixworth. The box contained a skull and mandible, a number of vertebrae and a small bag of pottery sherds. The only information was a label stating where (but not when) it was found and a note with the words ‘probably Roman’. I identified the skull as probable female and did a number of studies including the large drawing.
‘Alter Ego(s)' by Judith Thomson
MEDIUM: Knitted textile hanging
CONTEXT: A flexible installation piece that reflects the multiple facets of human existence and personae.
Inspired by the myth of the Fates and the weave of life’s canvas and dictated by personal experience and stories, this work considers the current social need to live life to the ‘full’.
This is an age where life expectancy is increasing and people are giving less credence to the concept of life after death. Life is lived here and now. For someone who would rather die before she gets too old, this piece is created as a document of being; an attempt to address, today, the oblivion that quietus will inevitably bring.
-This work seeks to explore the definition of the drawn line as a continuous thread whilst recognising the continuing importance of drawing as a primary mode of inquiry.
-The connection of the various ‘threads’ of drawing practice, life, myth and self as a three-dimensional form.
-Positioning contemporary drawing practice within the academic environment of the SSSB2017 conference.
-Acknowledging the fundamental element of drawing practice as a facilitator within many academic environments.
‘The Bones of Breakheart Quarry' by Dr Richard Allen
MEDIUM: 3 minute, looped, screen based video installation (varying dimensions), with sound.
CONTEXT: The Bones of Breakheart Quarry emerges from practice based research investigating the agency of objects and the non-human through the making of performances, films, essays and publications. Questions are asked about how performance objects: devices, props, instruments, machines, apparatuses and artefacts are appropriated into the making of art works and how this forms encounters. The performances and films play with how narratives and animations are formed between objects, performers and spectators, often working with theatrical props, stage hardware and novelty objects. Work is made in everyday locations such as garages, sheds and beaches and asks questions about how object agency functions in the making of cultural, social and political stories within site specific contexts.
‘Ankh – Die Young – Wrathchild' by Gaetan Chretien
MEDIUM: Framed inkjet on Plexiglas
CONTEXT: Death no longer fits with that image of a being buried in his bed, a blanket adjusted to his neck, sweating while waiting for the point of no return.
Death dwells in our daily lives. It conceals itself in a body and identity malaise induced or not by others. Enormous disturbance or not, resulting in the suicide for the most wounded being.
Death is expressed in the form of risks undertaken by the beings who seek to reach the climax provided by a social status. Those whose purpose is to make a demonstration of their superiority to the others at all points. The existential temptation that always ends by burning the convinced being in this moment of excitement, creating an episode of involuntary abstraction of the fragility of existence.
Death manifests itself as the counterweight of the acts afflicted to others. Hence will the murderous hand have to face the consequences. The child will nourish his anger and his injury in the unfolding which the inert body of the assay will be.
Death is meant to prepare one’s body for the artificial and pending destiny of our daily life, until to its absolute finitude.
Untitled Textile Piece 1 by Arabella Gadd
CONTEXT: This project looks at Victorian morality and dress code for mourning. The design for the dress provokes ideas opposing Victorian values die to the revealing nature of the front. The dress also explores floriography, the secretive communication through the use of flowers, commonly used by Victorians. Consequently, the black roses on the bustle transmit messages of death.
Untitled Textile Piece 2 by Emily Angold-Sanchez
CONTEXT: This project is based around bones and skeletons, focusing on the spinal cord. During this project the artist has realised the variation of every bone with regard to shape and texture. The top of the dress is inspired by architecture and microscopic bones.
'Reliquary' by Professor Joanna Sofaer
MEDIUM: Bone and Silver Filigree
CONTEXT: This work recalls the tradition of wrapping and embellishing the earthly remains of saints. At the same time, the wearability of earrings is akin to the Victorian notion of a momento mori, allowing the wearer continued physical connection to the one the love.
Untitled by Catherine Laws
MEDIUM: Charcoal on paper
CONTEXT: Undergraduate student on 'Body and Society' at University of Southampton, who attended an art class in the Centre for Learning Anatomical Sciences as part of her studies.
“I am used to life drawing from my art studies, but was intrigued to see what this rare opportunity to draw a cadaver would be like, and what kind of feeling the work would produce. The preserved anatomy and archaeological structures proved difficult to capture and became a scrawling mass. At a glance, the subject’s closed eyes and the blanket he is lying on suggest a sleeping man. At closer inspection, it is clearly a cadaver, severed at the rib cage and extremely textured due to the exposed tissue. I feel the drawing could be perceived as unsettling or oddly peaceful.”
'Morning Coffee' by Ellen Adams and Clive Lawler
MEDIUM: Taxidermy mouse by Ellen Adams and photograph by Clive Lawler
CONTEXT: The taxidermy mouse is an anthropomorphic effigy of the undertaker (Clive) placed in the idyllic setting of a Victorian dolls house.
The scene depicted is the undertaker relaxing in the normality of the home before a hard day’s work hearse driving, preparing the deceased and supporting the bereaved. A concept that most Briton’s find hard to comprehend.
This piece evokes a juxtaposition of ideas about life, death and normality as well as amusement.
A dead mouse depicting a living person who deals with the dead and death on a daily basis.
Image Credit: Carlos Adampol Galindo from DF, México via Wikicommons