Lewis Andrews
Scientia Year
One Book.
Every month.
For a year.
To Stimulate an Informative Encounter.
'Scientia' is a self-directed project with the intent of improving my knowledge and utilizing my practice as a conduit between art and science. 'Scientia' is a year-long project in which I've learned (and continue to learn) about concepts and ideas through a book and then attempt to translate those into an artwork for the audience to experience as an 'informative Encounter'.
- Lewis Andrews
‘Scientia’ was undertaken as an extension to the current investigations into the theory of an ‘Informative Encounter’ originating from experimentation during Lewis’s masters degree. Describing his process as a conduit between art and science, ‘Scientia’ takes this approach and puts the theory to the test for a whole year with the incorporation of scientific information provided by a carefully selected list of books. During his masters degree, Lewis discovered his work would have one or more of the following traits:
- New Knowledge
- New Viewpoints / Impossible Viewpoints
- Comprehension
- Visualising Data
- Collapsing Distances
- Answering Questions
- Open Up Conversations
- Condensing Information
- A Catalyst for information
- Understanding or attempting to Understand
Identifying these traits through his entire catalogue of artworks, Lewis’s theories of the ‘Informative Encounter’ continued to evolve and develop. Lewis’s artworks seem to interact and behave in a means that conforms to a theory of translating scientific information into something visual in an attempt to convey information to its viewer. If we were to think then of the audience in one room and a wealth of scientific information in another room, does that make the artworks and Lewis’s practice (as well as any other artist working with this technique) a doorway? Possibly metaphorically.
It’s important to note here that this is not the only possible doorway into this room of scientific information. A simple internet search could be another metaphorical doorway. Either way, this is why Lewis feels his work is a conduit. Attempting to connect the two and allowing the viewer to gain a new understanding of scientific information. However, sometimes the work itself will not be able to communicate the entirety of the subject matter. Instead, it could offer snippets to the viewer, enough to open up conversations that may lead them to further research of the subject matter.
“My artworks seem to interact and behave in a means that conforms to the theory of translating scientific information into something visual in an attempt to convey information to its viewer. If we were to think then of the audience in one room and a wealth of scientific information in another room, does that make me and my practice (as well as any other artist working with this technique) a doorway? Possibly metaphorically. It’s important to note here that we are not the only possible doorways into this room of scientific information. A simple internet search could be another metaphorical doorway. Either way, this is why I feel my work is a conduit. Attempting to connect the two and allowing the viewer to gain a new understanding of scientific information. However, sometimes the work itself will not be able to communicate the entirety of the subject matter. Instead, it could offer snippets to the viewer, enough to open up conversations that may lead them to further research of the subject matter.”
- Sample from Lewis’s thesis “Attempting to Image the Impossible”. 2021.
‘Scientia’ resulted from Lewis’s ongoing research into the ‘Informative Encounter’. Each month of the year, a book is selected with (if possible) a different subject matter within the realm of science than the prior book. Lewis’s practice would then attempt to translate information, theories, stories and data from the activity of reading these books into artwork. Each artwork should in turn have at its heart one of the ten traits previously identified in an attempt to stimulate an ‘Informative Encounter’.
Contents
August 2022.
Dark Matter & Dark Energy:
The Hidden 95% of Our Universe
Brian Clegg
Atoms
297mm x 420mm.
Text. 2022.
Halo I - V
420mm x 594mm.
Digitally Enhanced Drawing. 2022.
The 'Halo' series of digitally enhanced drawings touch upon the theorized properties of dark matter and its ability to hold galaxy clusters within a series of threads, filaments, and halo-like shapes. Zooming out, if you could visualize this architecture of our universe, it would appear to almost be a vast cosmic web.
Redshift I - VIII
210mm x 297mm.
Indian Ink & Ink on Watercolour Paper. 2022.
The 'Redshift' drawings visualize the very distant galaxies of the universe. The further photons of light travel across the cosmos, the more redshifted the light becomes on the spectrum. With Dark energy accelerating the expansion of the universe, there will come a time in the far future long after humanity that all galaxies apart from our own may become redshifted.
September 2022.
H20:
A Biography of Water.
Philip Ball
Frozen Moon
420mm x 594mm.
Digital Artwork. 2022.
'Frozen Moon' highlights and reaffirms that water is not just present on our planet within our solar system or the cosmos. With frozen icy moons orbiting our gas giants Jupiter and Saturn, 'Frozen moon' attempts to visualize fictional icy moons of distant planets just waiting to be discovered.
The Water in Your Body is Temporary
210mm x 290mm.
Indian Ink, Ink and Pencil on Watercolour Paper. 2022. x4
'The Water in Your Body is Temporary', as the name suggests, highlights the often overlooked fact that the water within your body is only temporarily within you before making another journey of its own. either still as a water molecule, part of another molecule, or separated into hydrogen and oxygen (which in turn get used in countless ways by the body). However, this piece reflects the journeys those molecules of water have already made before entering your body as well as the journeys they will make when they leave.
October 2022.
Oxygen:
The Molecule that made the World.
Nick Lane
Cyano
210mm x 290mm.
Ink on Watercolour Paper. 2022.
Ancient Merge
210mm x 290mm.
Indian Ink on Watercolour Paper. 2022. x3
'Ancient Merge' attempts to visualize a moment billions of years ago when two early cells merged to become one. The early seas were a no man's land of endless conflicts between cells devouring each other for their resources. One day, however, a cell 'ate' another and did not kill it. This early merge between cells would eventually lead to the first Eukaryote cells. That cell that was absorbed by the other was the early descendant of the mitochondria in our cells today.
The Fall of Snowball Earth
210mm x 290mm.
Indian Ink and Ink on Watercolour Paper. 2022. x4
'The Fall of Snowball Earth', as the name suggests, attempts to take the audience back to the end of a period within earth's history when temperatures plummeted and the world became a giant ball of snow and ice. A runaway Ice-albedo feedback is theorized to have plummeted temperatures on earth turning our pale blue dot into a frozen marble. The end of this long period of cold came at the hands of powerful volcanic eruptions releasing greenhouse gases into our atmosphere. In turn, raising the temperature and bringing an end to Snowball Earth. It's also theorized that snowball earth has occurred a few times in our planet's history.
The Key to All Oxygen Breathing Life
420mm x 594mm.
Giclee Print on Paper. 2022.
One of the single most important parts of Photosynthesis on planets is the release of Oxygen. You and I, as well as billions of other people and trillions of other organisms, breathe in Oxygen in some form of respiration. This is achieved by one part of the plant known as the 'Oxygen - Evolving Complex'. This piece highlights the process of photons being used to split water resulting in the release of Oxygen as a waste product. Just think about that for a second. One of the reasons you're able to breathe now is that plants have released Oxygen as a waste product.
The Last Universal Common Ancestor (LUCA)
210mm x 290mm.
Indian Ink on Watercolour Paper. 2022.
6CO2 + 6H2O = C6H12O6 + 6O2
210mm x 290 (x18) & 290 x 420mm.
Indian Ink on Watercolour Paper & Giclee Print on Paper. 2022.
The Individual Artworks & Stages
Click Here
Born out of the same storytelling approach as sister artwork 'ATP', '6CO2 + 6H20 = C6H1206 + 602' visualizes a brief overview of oxygenic photosynthesis within plant cells. As we know, it's because of this process that we have a bountiful supply of Oxygen in the air for us to breathe; as well as the separate oxygenic photosynthesis that occurs in Cyanobacteria.
Consisting of 19 individual pieces to form the artwork, we begin with the two products of light & water before progressing into the plant cell. Within those is the Thylakoid where light-dependent reactions occur to split water releasing Oxygen and creating the molecules NADPH & ATP. CO2 is added within the Calvin Cycle and the product of this process will eventually go on within the plant to produce sugar.
November 2022.
The Deep
Alex Rogers
That's not a Jellyfish.
210mm x 290mm.
Indian Ink & Ink on Watercolour Paper. 2022.
In 2018, scientists found a plastic bag at 10898m below the surface in the Mariana Trench. It seems even the remotest places on Earth are not safe from our destruction.
The Deep.
660mm x 900mm.
Indian Ink & Ink on Watercolour Paper x9. 2022.
"We were exploring an environment that would be instantly fatal to Human Life were it not for the technology of the plastic bubble and gadgetry we were surrounded by. We were, indeed, engaged in a heroic endeavor, to explore the ocean, to boldly go where no human had been before." - Alex Rogers. The Deep. Prologue, p8.
Lost City I.
290mm x 420mm.
Indian Ink & Charcoal on Watercolour Paper. 2022.
Lost City II.
290mm x 420mm.
Indian Ink & Charcoal on Watercolour Paper. 2022.
Lost City III.
290mm x 420mm.
Indian Ink & Charcoal on Watercolour Paper. 2022.
The 'Lost City' drawings attempt to visualize the remote ocean communities that thrive around hydrothermal vents in the deep sea. The drawings take their name after The Lost City Hydrothermal Field on the Atlantis Massif between the Mid-Atlantic Ridge and Atlantis Transform Fault. Here, around 30 active and inactive vents tower above the ocean floor. One of these, named Poseidon, Towers 60 meters from its base and 100 meters wide. Producing simple molecules such as methane and hydrogen (both of which are fundamental in microbial life), the site has generated great interest from scientists in regard to the origin of life on Earth. With vast amounts of the ocean still unexplored, it must be interesting to know how many more
'lost Cities' are hidden beneath the waves.
December 2022.
Immune
Philipp Dettmer
Thymus
297mm x 210mm x4
Indian Ink & on Watercolour Paper & Giclee Prints on Paper. 2022.
Referred to as the ‘Murder University’ by Philipp Dettmer in his book ‘Immune’, the Thymus is where your immune cells are ‘trained’ to learn self from others through the use of proteins. If a young immune cell recognizes a body cell protein and wants to attack, it is terminated immediately. If cells like this escape, this will lead to an autoimmune disease. Your immune system has to constantly be kept in check since it can just as easily kill you as defend you. Through the thymus, your immune cells are ‘trained’ to recognize self from other. 98% of new immune cells entering the thymus fail this test.
Guard - Macrophage
297mm x 210mm.
Indian Ink & Ink on Watercolour Paper. 2022.
Intelligence - Dendritic Cell
297mm x 210mm.
Indian Ink & Ink on Watercolour Paper. 2022.
Parasite Assassins - Eosinophil
297mm x 210mm.
Indian Ink & Ink on Watercolour Paper. 2022.
Warrior - Neutrofil
297mm x 210mm.
Indian Ink & Ink on Watercolour Paper. 2022.
Protein Warriors - The Complement System
297mm x 210mm.
Indian Ink & Ink on Watercolour Paper. 2022.
Histamine Warfare - Basophil & Mast Cells
297mm x 210mm.
Indian Ink & Ink on Watercolour Paper. 2022.
24hr Extermination - Natural Killer Cell
297mm x 210mm.
Indian Ink & Ink on Watercolour Paper x2. 2022.
Weapons Factories - B-Cell & Antibodies
297mm x 210mm.
Indian Ink & Ink on Watercolour Paper x2. 2022.
Co-ordinators - T-Cell
297mm x 210mm.
Indian Ink & Ink on Watercolour Paper x2. 2022.
Infected Cell Assassins - Killer T Cell
297mm x 210mm.
Indian Ink & Ink on Watercolour Paper x3. 2022.
Immune - Memory Cells
297mm x 210mm.
Indian Ink & Ink on Watercolour Paper. 2022.
Every second of every day throughout your life you are essentially under attack. Countless pathogens would like to make you their new home and steal resources. Your defenses are complex and come in a huge variety. These drawings highlight and visualize some of the key players in the everyday battles that play out inside your body to keep you alive. Touching upon both the Innate and Adaptive parts of the Immune system, each of your immune cells has its own specialties. Ranging from your guard cells acting like warriors against any immediate threat to the cells gathering information about the pathogens to activate small yet extremely powerful weapons; Antibodies.
The Hole Ripping, Crippling & Immune System Activating Warriors.
297mm x 420mm.
Giclee Print on Paper. 2022.
'The Hole Ripping, Crippling...' touches upon the often overlooked protein warriors of your immune system. The Complement System consists of over 30 different proteins and can carry out a few different actions that help the Immune system when dealing with a pathogen. They can join together to rip holes within pathogens. They can cripple them by swarming a pathogen on mass. They can also activate the guard cells by releasing different proteins like a distress call. Think of them as billions of tiny weapons flowing through your blood.
Fortunately, you're not the target.
January 2023.
Deadly Companions:
How Microbes Shaped Our History.
Dorothy H. Crawford.
Human Body & Pathogens
297mm x 210mm x2.
Indian Ink & Ink on Watercolour Paper & Giclee Print. 2023.
Pathogens in the Soil
297mm x 420mm x2.
Photograph & Giclee Print. 2023.
Bacterium Apocalypse
297mm x 420mm x45.
Photograph, Giclee Print & Indian Ink & Ink on Watercolour Paper. 2023.
‘Bacterium Apocalypse’ is the third ‘Story Artwork’ (ATP & 6CO2 + 6H2O = C6H12O6 + 6O2) and visually tells a story which unknown to you is experienced every day by your Immune System. Second only to the human brain, the Immune system is the most complex system within your body and every day it’s under attack. The work touches upon how a simple cut is to your cells a fight for life or death.
‘Bacterium Apocalypse’ starts the story with a small cut and shows nearby bacteria taking the opportunity to invade and start stealing your resources. The Immune response follows going cell by cell with each calling in reinforcement if necessary. With this particular pathogen, the Innate Immune System and Adaptive Immune System are both activated, and their specialist cells are shown in order of activation.
Critical parts and processes of the immune response are highlighted with the use of colour and text. A great example would be the two-stage activation cells have in place to stop accidental activation and possible harm to yourself; your Immune system can just as easily kill you if left unchecked. The story comes to an end with all our ‘weapons’ coming together and defeating the infection. Most of your Immune cells will then die as they no longer have a purpose. However, a few will turn into memory cells and remember this specific pathogen. This is how immunity works and as a result, the pathogen within the artwork we have now become immune to if another infection occurs.
February 2023.
Viruses:
The Invisible Enemy.
Dorothy H. Crawford.
Killer T Cells
297mm x 210mm (6x).
Giclee Print & Indian Ink & Ink on Watercolour Paper x5. 2023.
'Killer T Cells' visualizes one of the most effective weapons against a virus infection your Immune System possesses. Killer T Cells are activated by Dendritic cells and begin to check body cells for the telltale signs of infection. When a virus hijacks the cell and starts producing virus proteins, these will be displayed on the exterior of the cell. Killer T cells order any cell displaying these proteins to commit suicide (Apoptosis). Macrophages clear up the remains of these cells. Through this effective method, the Immune System gains the upper hand during a virus infection.
Only Takes One
297mm x 210mm (8x).
Indian Ink & Ink on Watercolour Paper x8. 2023.
One Virus is all it takes to kickstart a serious infection. One virus infects a body cell and hijacks the cellular mechanisms to start producing virus proteins to construct new viruses. Once the cell is brimming with new viruses, the cell dies releasing hundreds of new viruses that will now go on to try and infect new cells.
March 2023.
Rebel Cell:
Cancer, Evolution and the Science of Life.
Kat Arney.
Natural Killers
297mm x 210mm (4x).
Indian Ink & Ink on Watercolour Paper x4. 2023.
Natural Killer cells patrol the body every second of every day. When they find a cell with the warning signs of going cancerous from damaged proteins and genes, they order Apoptosis (cell death). Once complete, macrophages clear the remains of the damaged cell.
Dendritic Cells, T Cells & Cancer.
297mm x 210mm (6x).
Indian Ink & Ink on Watercolour Paper x6. 2023.
Rule Breaker.
297mm x 210mm (6x).
Indian Ink & Ink on Watercolour Paper x5 &
Giclee Print on Paper 2023.
Cells within multicellular organisms have rules they must follow in order to work together to support their host organism for the greater good of all the cells within and their survival. Cancer cells break all of them and put their own survival first. Through a series of complex mutations, the cancer cell breaks all five golden rules.
apoptosis.
297mm x 210mm (3x).
Indian Ink & Ink on Watercolour Paper x3. 2023.
Controlled Cell Death. A vital tactic employed by the Immune system when it encounters hijacked, damaged and cancerous cells.
April 2023.
Light In The Darkness:
Black Holes, The Universe & Us.
Heino Falcke, with Jorg Romer.
A Home in the Void.
594mm x 841mm (6x).
Giclee Print on Paper (x6). 2023.
Our Planet is the only pale blue dot in the universe we currently call home. Such a shame we have a destructive tendency towards our home. The atmosphere is as thin as an eggshell if compared to what lies beyond. The need to protect our home has never been greater. After all, there’s no place like home to call home for now.
Quasar I
594mm x 841mm.
Giclee Print on Paper. 2023.
Quasar II
594mm x 841mm.
Giclee Print on Paper. 2023.
Quasar III
594mm x 841mm.
Giclee Print on Paper. 2023.
Quasar IV
594mm x 841mm.
Giclee Print on Paper. 2023.
Monsters are being born within the hearts of young galaxies. Quasar jets signalling the birth and hunger of the supermassive black hole at its centre. Galactic beacons of great power. Emitting electromagnetic radiation all across the electromagnetic spectrum, these beacons populate the cosmos in their millions.
As a result of their extreme brightness, Quasars have become useful to measure distances in the night sky. Because they are so far away, an odd side effect is they appear to be stationary to our current technologies with measurements using very-long-baseline interferometry of most being positioned within 0.001 arc second. This process produces results far superior to the best optical measurements.
Titanic Collision I - VIII
210mm x 297mm.
Indian Ink on Watercolour Paper. 2023.
The universe is a very violent place. Galaxies containing billions of stars are seen colliding with each other all over the cosmos. Truly a collision of titans. Such is the fate that awaits our galaxy, the Milky Way when we collided with our galactic neighbour Andromeda in about 4.5 billion years. Despite this, the distances between the stars in both galaxies render the likely hood of them colliding with other stars nearly impossible. However, the same cannot be said for stars being ejected from this collision.
Singularity I
594mm x 841mm
Photograph. 2023.
Singularity II
594mm x 841mm
Photograph. 2023.
Singularity III
594mm x 841mm
Photograph. 2023.
Singularity IV
594mm x 841mm
Photograph. 2023.
‘Singularity’ connects the distant monsters hiding in the cosmos with the delicate paradise of our pale blue dot. Astronomers managed to achieve photographing not one but two shadows of black holes in recent years. A great achievement of not only science but humanity. Born out of the death of supergiant stars, or in most recent theories the collapsing of giant gas clouds in the early universe, these titans will populate the cosmos for what seems almost an infinite amount of years to come. For humanity, to photograph a black hole is not only a quest for the actual photograph. It’s a quest to travel to the edge of the unknown at the event horizon and to stare face to face with an object that currently turns of understanding of physics upside down.
Breaking down the distance between these colossal gravitational machines and the viewer, Lewis’s ‘Singularity’ work has been created with the use of gravity on a much smaller scale. Created using a careful set up of light, water and gravity and then through various digital editing, the work attempts to open a window up close and personal with some of the true titans of the cosmos. Somewhere even light cannot escape if it strays too close.
May 2023.
Gravitational Waves:
How Einstein's Spacetime Ripples Reveal the Secrets of the Universe.
Brian Clegg.
Gravitational Waves I
594mm x 841mm
Giclee Print on Paper. 2023.
Gravitational Waves II
594mm x 841mm
Giclee Print on Paper. 2023.
The detection of ripples in space time created by objects of high mass offer a new way in which to view the cosmos from when it was a young universe comparable to when the first optical telescope was invented. Everything in the universe produces vibrations within space-time. However, with most objects including Earth, they are undetectable due to how weak they are from smaller masses. However, titanic collisions between high mass objects like colliding Neutron Stars & Black Holes generate these gravitational waves in strengths which we can detect here on earth despite the fact they occurred half way across the universe billions of years ago.
Singularity V
594mm x 841mm
Photograph. 2023.
Singularity VI
594mm x 841mm
Giclee Print on Paper. 2023.
Singularity VII
594mm x 841mm
Giclee Print on Paper. 2023.
Singularity VIII
594mm x 841mm
Giclee Print on Paper. 2023.
Singularity IX
594mm x 841mm
Giclee Print on Paper. 2023.
Singularity X
594mm x 841mm
Giclee Print on Paper. 2023.
‘Singularity’ connects the distant monsters hiding in the cosmos with the delicate paradise of our pale blue dot. Astronomers managed to achieve photographing not one but two shadows of black holes in recent years. A great achievement of not only science but humanity. Born out of the death of supergiant stars, or in most recent theories the collapsing of giant gas clouds in the early universe, these titans will populate the cosmos for what seems almost an infinite amount of years to come. For humanity, to photograph a black hole is not only a quest for the actual photograph. It’s a quest to travel to the edge of the unknown at the event horizon and to stare face to face with an object that currently turns of understanding of physics upside down.
Breaking down the distance between these colossal gravitational machines and the viewer, Lewis’s ‘Singularity’ work has been created with the use of gravity on a much smaller scale. Created using a careful set up of light, water and gravity and then through various digital editing, the work attempts to open a window up close and personal with some of the true titans of the cosmos. Somewhere even light cannot escape if it strays too close.
Kilonova I
594mm x 841mm
Giclee Print on Paper. 2023.
Kilonova II
594mm x 841mm
Giclee Print on Paper. 2023.
Kilonova III
594mm x 841mm
Giclee Print on Paper. 2023.
Kilonova IV
594mm x 841mm
Giclee Print on Paper. 2023.
‘Kilonova’ focuses on the death of two already dead stars. Neutron Stars are the left-over corpses of supergiant stars that went supernova. Neutron stars are as a result, full of extremes. A sugar cube size piece of Neutron Star would weigh roughly a billion tons. Over time, Neutron Stars may stray too close to each other and begin a death spiral until they collide. When this happens, another massive explosion is generated called a Kilonova.
‘Kilonova’ visualises these colossal collisions in all their incredible destructive power. However, these cataclysmic events birth new elements through the collisions of atomic matter as they are blasted out into the cosmos. It’s now been theorised recently that these events may be the origin of the heavy elements. So not only did a supergiant star have to end its life in a supernova, its corpse had to collide with another corpse to fuse elements which are present within your body today.
June 2023.
Entangled Life:
How Fungi Make Our Worlds, Change Our Minds and Shape Our Futures.
Merlin Sheldrake.
More than the Fruiting Body I
210mm x 297mm.
Pen on Paper. 2023.
More than the Fruiting Body II
210mm x 297mm.
Pen on Paper. 2023.
More than the Fruiting Body III
210mm x 297mm.
Pen on Paper. 2023.
More than the Fruiting Body IV
210mm x 297mm.
Pen on Paper. 2023.
More than the Fruiting Body V
210mm x 297mm.
Pen on Paper. 2023.
More than the Fruiting Body VI
210mm x 297mm.
Pen on Paper. 2023.
More than the Fruiting Body VII
210mm x 297mm.
Pen on Paper. 2023.
More than the Fruiting Body VIII
210mm x 297mm.
Pen on Paper. 2023.
More than the Fruiting Body IX
210mm x 297mm.
Pen on Paper. 2023.
Mushrooms are the most common product we picture when thinking about a fungal organism. However, the Mushroom is only the fruiting body of the fungus much like an apple is the product of an apple tree. The Mushroom is where the spores are produced. Below is a complex network structure of roots and branches belonging to the organism in the form of mycelium. These structures can behave in a wide variety of ways.
Within woodland fungus (upon which these drawings are based) some Mycelium grows throughout the soil and wraps around tree routes. Growing into the tree routes themselves they are then able to act as an interconnected web between the trees and other plant organisms. This composition is often called a “mycorrhizal network” and connects these individual trees & plants together to facilitate the transfer of water, nitrogen, carbon and other minerals. A German Forester called Peter Wohlleben called these networks the ‘Woodwide Web” as they give the extraordinary ability to allow trees to communicate with each other. The next time you’re out walking through your local woodland, think about the amazing networks operating below your feet. These drawings aim to highlight that there is much more to the fungal world than just the fruiting body of the mushroom.
Recycling Machines I
210mm x 297mm.
Pen on Paper. 2023.
Recycling Machines II
210mm x 297mm.
Pen on Paper. 2023.
The Weapon that Saved Countless Lives.
210mm x 297mm.(x3)
Pen & Ink on Paper. 2023.
In 1928, Alexander Fleming found that fungal contamination of bacterial culture appeared to produce a compound that killed bacteria. The discovery eventually led to Penicillin, through a complex purification process, becoming a widely available antibiotic. Penicillin has saved millions of lives from bacterial infections throughout its history and continues to do so. During World War 2, an estimated 2 million doses of Penicillin were produced ahead of the D-Day invasion of Normandy, saving countless lives. A species of Fungi producing a compound for its defence has drastically improved our chances when dealing with some of our enemies in the microscopic world. That being said, caution must now be taken as numerous bacterial infections have now evolved with resistance to Penicillin from overprescribing the drug.
Forager - phanerochaete velutina.
210mm x 297mm.(x6)
Pen & Ink on Paper. 2023.
July 2023.
Extraction to Extinction:
Rethinking our relationship with Earth's Natural resources.
David Howe.
Resources.
210mm x 297mm.(x3)
Pen & Ink on Paper. 2023.
Greenhouse Assault
210mm x 297mm.
Indian Ink on Watercolour Paper. 2023.
Greenhouse Assault II
210mm x 297mm.
Indian Ink on Watercolour Paper. 2023.
Greenhouse Assault iii
210mm x 297mm.
Indian Ink on Watercolour Paper. 2023.
Greenhouse Assault iv
210mm x 297mm.
Indian Ink on Watercolour Paper. 2023.
Greenhouse Assault v
210mm x 297mm.
Indian Ink on Watercolour Paper. 2023.
Greenhouse Assault vi
210mm x 297mm.
Indian Ink on Watercolour Paper. 2023.
Paradise slipping away.
210mm x 297mm.(x3)
Indian Ink & Ink on Watercolour Paper. 2023.
Scarred in the Pursuit of Resources.
210mm x 297mm.(x2)
Indian Ink on Watercolour Paper. 2023.
Conclusion
The Informative Encounter Schematic
Informative Encounter Schematic - Lewis Andrews - MkI
(C = rA + B) x D
Science (-rightfulness) = Data/Information = A
This rightfulness that exists in science needs to be removed at the beginning of our equation. You’ll never hear me say that one of my artworks is correct. The artwork communicates the knowledge of our time. If new evidence arises that contradicts the current theory or information within the work, the artwork will either evolve or be made redundant altogether. Nothing is right in science. For the equation, my practice only needs science’s main outcome; data and information from the present.
Visual + Material + Conceptual Approach = Individual Perspective/Practice = B
Data and information are then combined within my practice’s use of material and the visual outcome. Both are then coupled with a conceptual working method. The idea takes priority over the materialistic outcome of the artwork. However, sometimes the conceptual idea can dictate the material choice for the resulting artwork. A great example of this would be all my drawing works touching upon the element Carbon. Exploring the origins, cycles and uses of the element, the drawings incorporate a large amount of the element in the form of Indian ink. Therefore, intimately linking the idea and visual outcome through the use of the element being explored. In addition to all of the above at this point is my perspective of the subject within the work. Like a child exploring their surroundings for the first time, I have a genuine curiosity for the subject being explored and want to communicate this to the viewer or offer an alternative way to communicate the information and data behind the artwork.
A + B = C
A at this point turns into a remainder ( rA) since it remains true to the source of the scientific information and data from which the idea first emerged. The main component of the equation then can be written out as follows:
C = rA + B.
As some of the more eagle-eyed individuals reading this would have noticed there is still a component missing from the equation. D. The argument about the kind of encounter a viewer could experience from my artwork favours more of an ‘Informative Encounter’ communication through the ten aims with greater emphasis on opening up conversations and communication of new knowledge when working with scientific data and information.
In this case, the viewer’s encounter with the artwork in this manner, hopefully, fulfils the purpose of the artwork and amplifies the experience. This part of the equation therefore becomes a times ( X ) symbol for the informative encounter enhancing the experience between the viewer and the artwork and a possible successful communication of scientific information through a visual medium.
The Audience + The Informative Encounter
=
The audience receives communication of Data/Information through a visual application which may be more effective in the passing of knowledge.
=
x D
Final Equation:
(C = rA + B) x D
Informative Encounter Schematic - Lewis Andrews - MK1
Giclee Print on Paper. 2023.
594mm x 420mm.
Project End.
'Scientia'
Aug 2022 - July 2023
Contents