“It’s a matter of perspective” Cabinet of Curiosity & Andrew Lee
Cultural Institute have published an online article about a recent collaboration for Leeds Creative Labs involving Cabinet of Curiosity and Andrew Lee, a research fellow within the School of Electronic & Electrical Engineering at the University of Leeds.
“It’s a matter of perspective”
Cabinet of Curiosity & Andrew Lee
Cabinet of Curiosity Studio
are specialists in the paper arts, using paper materials and techniques
for a diversity of commissions at a variety of scales. Their
paper-based artworks have been exhibited nationally and internationally
in settings that include museums, theatres, arts venues and the public
realm. Andrew Lee
is a research fellow at the Pollard Institute (Bionanotechnology),
within the School of Electronic & Electrical Engineering. He is
interested in understanding how the biomolecular machines of our cells —
known as enzymes — work. To do this, he make movies of these enzymes —
which are a billionth of a metre in scale — performing their functions
within stages made from woven DNA molecules.
When
the collaborators began their conversation, there seemed to be a common
interest in folding, whether that’s paper-folding or the folding of DNA
into nanostructures. Their original idea was to make an
origami-of-origami.
Each
engagement began with a tactile session looking at artworks created by
Cabinet of Curiosity Studio. Origami can be an accessible artform that
is easy to connect with, but can also be extremely complex. As a
starting point, the artists began to look at using traditional Japanese
modular origami to build DNA structures that reflected Andrew’s
research. This playful interaction with the arts developed into deeper
conversations about how aligned the processes of science and design are.
Origami made within the Leeds Creative Labs
As
the partnership progressed, they realised that they shared many
reference points beyond simple folding, specifically an appreciation of
the virtues of “environments & spaces”. This became a reflection
point, as Andrew communicated his science, Edmond (Cabinet of Curiosity
Studio) highlighted how it seemed that an underpinning theme was the
creation of spaces or environments for the subject matter — in this case
enzymes — to inhabit.
Along
these same lines, Andrew described how when looking through a
microscope at cells, for example, one finds a terrain that could quite
easily be the hills and valleys of a landscape.
“You can almost inhabit this landscape, it’s all just a matter of perspective.”
This
continued when interviewing Andrew and his colleagues, Caroline
discovered that the researchers often used architectural terminology to
talk about the spaces they create and examine. The scientists and
artists found a common language in architectural terms — albeit
considering very different scales.
This
led to a discussion of about miniaturisation and doll’s houses. The
partners are now interested in creating spaces that people can feel like
they can inhabit. Their next line of enquiry is to explore how far you
can force the perspective when showing objects which are unfamiliar —
if, for example, it contained the structures of Andrew’s research.
In light of this, collaborators began drawing on art from the past, especially from the Baroque era where people were exploring the creation and presentation of immersive little worlds. In particular, they were inspired by a particular Dutch perspective box by Samuel van Hoogstraten (below). Caroline (Cabinet of Curiosity Studio) commented on how this was like an early example of low tech virtual reality without the technology — people can look into and inhabit this little world.
These
discussions continued onto the origins of dolls houses and
miniaturisation of everyday objects to create representations of the
world. Originally intended as teaching tools, these later became toys.Through
these discussions the partners became interested in creating spaces
inspired by the science, such that people can feel like they can inhabit
microscopic environments. For example, a perspective box presenting the
inside of a cell, rather than a room with a chair. Their next line of
enquiry is to explore how far you can force the perspective when showing
objects which are unfamiliar — if, for example, it contained the
structures of Andrew’s research. Beyond simply science inspired works of
art, the fruits of this concept could potentially be presented as
teaching tools for STEAM engagements.
Leeds
Creative Labs is the pioneering programme from the Cultural Institute
at the University of Leeds. It connects researchers with creative
professionals to spend three days together without any expectation of an
outcome. The experience is characterised by playfulness, curiosity and
creativity.
This
collaboration was part of Leeds Creative Labs: Bragg Edition, which
aims to explore innovation, impact and sustainability in materials
research. Professor Lorna Dougan and Dr Scott McLaughlin played a
crucial role in the development of the edition, with funding from the
University of Leeds Interdisciplinary Pump-Priming Fund.
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