For the last 10 years, I have worked intensively with scientists, drawing biological specimens for publication. I sat with the pinned insects or pressed herbarium specimens and drew them as faithfully as possible; striving for unprejudiced observation. What is the true representation without interpretation? How does the lens distort or the lighting obscure? How does it feel to be an artist whose personality is completely removed from the work? How did it feel to be invisible?
I began drawing digitally 7 years ago. Initially, I found computer drawing to be difficult, yet completely natural and compelling. Later, I mixed the medium with scanned objects, plants, insects, drawings, and photographs.
My creativity, so compressed during the years of drill, was pushing through the restraints of scientific documentation, in unpredictable and funny ways. The Gladiator-Bug sprouted a mane of Buddhist flames and all things changed. Then a beetle head became a vase. In the background, the same questions were asserting themselves:
Today's world has a "field" which is where I believe technology, creativity and collaborations come together. It's the intersection of times that came before us and what's ahead. It's the indigenous world and the developed one. It's where old materials are used and the new technologies are embraced.
The scientific community is international. Having connections in many parts of the globe is expansive. The inherent potential for communication, international collaborations, and community could only have happened at this point in time.
Things will not go back.
They will be more and more.
Today, I crave more risks. I am searching for new connections. It has become the time for me to leave the sanctuary of the laboratory and to go into the "field" for renewal and discovery.
In spite of all evidence to the contrary,
I believe in the possibility of a Renaissance.