MA Art and Science 2017
With an eclectic mix of backgrounds and individual exploration of the interconnecting field of art and science, THIRD MATTER responds to diverse topics including: consciousness through sound; non-verbal communication across dimensions; alienation and reclaiming the self and nostalgia and memory provoked by smell. The body is investigated through the tropes of scientific enquiry and models of artificial intelligence alongside considerations of genetic influence and evolutionary pressure. The effects of how we co-habit with nature are explored through themes of the Anthropocene, pollution, and interfaces between synthetic and organic matter. Experiments throughout the show will attempt to visualise particle energy and the audience is challenged to engage in a black-hole experience.
Ma Art and Science This pioneering two-year postgraduate course responds to the fastemerging territory for interdisciplinary and collaborative art practice. MA Art and Science gives students an opportunity to interrogate the creative relationships between art and science and how they can be communicated. Students explore different approaches to making and presenting their work with the aim of proposing and realising innovative outcomes in practice and research. www.arts.ac.uk/csm/courses/postgraduate/ma-art-and-science/
central saint martins Degree Show One 2017 (24 â€“28 May) will showcase the Fine Art programme of courses: BA (Hons) Fine Art; Postgraduate Art Programme at CSM (MA Fine Art, MA Art and Science, MA Photography, MRes Art: Exhibition Studies, MRes Art: Moving Image, MRes Art: Theory and Philosophy). Central Saint Martins is internationally renowned for the creative energy of its students, staff and graduates with an outstanding reputation for educating foundation, undergraduate, postgraduate and research students across art, design and performance. Fundamental to study at the College are experimentation, innovation, risk-taking, questioning and discovery, within a highly supportive learning environment. Central Saint Martins is part of University of the Arts London, an international centre for innovative teaching and research in arts, design, fashion, communication and the performing arts. The University is made up of six Colleges: Camberwell College of Arts, Central Saint Martins, Chelsea College of Art and Design, London College of Communication, London College of Fashion and Wimbledon College of Arts. www.arts.ac.uk/csm
Three thoughts towards art and science By Claudia Lastra Executive Director, Arts Catalyst 1. Liminality “Liminality is both more creative and more destructive than the structural norm. In either case it raises basic problems for social structural man, invites him to speculation and criticism” Victor Turner (1982) Liminality from the Latin ‘limen’ means a threshold or margin. Liminality is a state in which the order of things is suspended, the past is left behind and the future has no current vision. Anthropologist Victor Turner adopted the term Liminality from Arnold Van Gennep (1909) and his work on Rites of Passage, as a reflection on the formation of rituals in tribal societies. Stage one is the withdrawal from society or one’s group, the middle stage is liminality and the last stage is of reintegration into a group or society after a ritual is performed. Since Turner, the term has been used to describe social, cultural or political transformation.Turner (1968) defined liminality as a stasis – where all forms of identity, hierarchies and knowledge can be dissolved and thrown into doubt. In essence that a liminal stage in a process is where artists can question, analyse and defy standard processes be they scientific, political or otherwise. Meaning that new customs, knowledge and practices can become established.
2. Unlearning We must “unlearn one’s privileges” and consider “how to behave as a subject of knowledge within the institution of neo-colonial learning” Spivak (1993) We unconsciously internalise societal norms, for example ideas of gender, social status and the separation of disciplines – as well as pedagogical structured practices in education. Instead, artist Annette Kraus suggests we temporarily suspend our learnt behaviours (unlearn!) and instigate more informal learning practices to influence the way we act in the world and influence new futures – by rethinking what our surroundings mean to us and instigate more useful social norms that are for common good and not exclusive to academia. Artistic practice allows itself to have autonomy – to distance itself from institutions and also be part of institutions; it can delve into any discipline and form understandings on societal concerns from a point of critical reflection. Can we adopt a sense of unlearning, habits or processes in not only arts and humanities but in science and scientific processes and communities? 3. Situated Knowledges “A dark bewitched commitment to the lure of Progress (and its polar opposite) lashes us to endless infernal alternatives, as if we had no other ways to reworld, reimagine, relive, and reconnect with each other, in multispecies well-being” Donna Harraway (2016) Situated Knowledge is a form of objectivity - knowledge producers have agency and situated knowledge is never context free. Meaning we can question and detect the roots of knowledge – where it’s localised and produced. Beyond the institution we can self-organise, between the anti-structure and reforming new structures, to connect with a multiplicity of knowledges. You can have multifarious agendas and also operate in some semi-normative structures, together with other disciplines, groups, communities and species because forms of knowledge need to be connected to benefit from each other.
Neus Torres Tamarit
Michelle von Mandel
josh Chow My current practice interprets the darkness in our minds in different forms, from paintings, to sculptures, to room scale installations. Itâ€™s easy to tell others what we fear but I find it impossible to explain what fear itself really is. I am transforming this feeling of the unknown into solid, tangible, abstract forms. In my installations the use of natural elements such as wind, sound, and darkness allow me to speak to viewersâ€™ senses in an unconventional way. The dark particularly inspires me because we hardly see it in our day-to-day urban lives and it is something we often even try our best to avoid. To me, as a human, nothing is more beautiful than being able to have our own perceptions, senses, and most importantly, to feel. email@example.com www.joshchow.com
Neus Torres Tamarit I am a multidisciplinary artist interested in how artworks about genetics interact with the subject and with the audience, and how accurately such artworks present their scientific concepts. I am also interested in bridging the gap between genetics and popular culture, evoking curiosity and wonder about the mechanisms of life, synthesising the concepts into mixed-media installations that create an emotional response so that people react to them as a human experience. Biomorpha (Evolving Structures) is a mixed media installation that combines a digital interactive installation, a series of acrylic and bioplastic sculptures, holograms, and photo-etchings. The project explores the idea that an organism is limited by the success of the mutations of its ancestors, and how evolutionary pressure accelerates the mutation rate in an organism that is adapted to an environment that originally has stable conditions. Special thanks to Ben Murray for his help in developing the software, to Dr Max Reuter for his contribution in genetics and evolution and to Aimee Dulake and Jessie Richardson for their involvement in the performance. firstname.lastname@example.org www.phenotypica.org www.neustorrestamaritart.blogspot.com
Nicolas Strappini I map and visually trace a variety of processes including oscillations, Lichtenberg figures and pendulum movements using different mechanisms including harmonographs and Wimshurst machines. I find ways of visualising mathematical concepts and the nature of physical laws, from electromagnetism and sound to elementary particles. I have been researching and selecting different types of natural phenomena that can be described using equations. I’m fascinated by the links that may exist between processes, using the micro to explain the macro - for example, Lissajous figures drawn in sand could be illustrative of Lissajous orbits - the orbital trajectories of planets. Some of the processes are mathematically chaotic in nature, and leave behind fractal patterns. The main drive of my work is to look for structure within these systems.The performative aspect of the work takes the form of a series of scientific demonstrations to chronicle something about the inventors of the equipment I am showcasing. The delineation of time is also important – through visual analysis, the individual strokes of some of the pieces can be given time stamps. The marks produced by a plotting electrode change in reference to its speed – the same can be said for my work with tuning forks. The relationships and structures that connect this world together are mysterious; indeed, why do they exist? Is it that the structure of physical laws is transmitted from a single point – the symmetry that becomes diminished and scatters as the universe unwinds itself to a viewer? With thanks to Kaja Ritzau-Reid, conductive polymer researcher at Imperial College. email@example.com www.nicolasstrappini.com
Juan Perez My practice involves thinking of space and time in a different way which can be difficult - especially when world systems have a centralised way of interaction. This thinking drove my work to travel between platforms, from books to digital collage and collaboration. In engagement terms, these platforms have a different structure. People see these forms of media in their own time and at their own space. Over the past two years I began to exchange and transform in a more corporeal kind of way, from live feed actions to technological interactions - this exploration eventually took me to performance. This allowed me to start a different value system where I had no necessity to engage with the classical subject-object duality. In exchange, I could begin to generate a different value, change - which allows me not only to experience being in two places at the same time but also generate different platforms for people to interact and value my work. The value exchange with institutions, artists and space-time, therefore, becomes more fulfilling, allowing people to experience their body in a more decentralised way, breaking again with the classical constructions. The research and work I have produced have pushed my way of living and understanding, to look for ways to be in more than two places at the same time.
Leon radschinski-gorman I’m interested in cross-modal cognition and how we structure creative processes through embodied experience. In this respect, I’m particularly interested in creativity with sound. A central theme of my work is representing sound with image and image with sound to evoke, highlight and explore audio-visual relationships through texture, movement, light and colour; typically, I use a mixture of moving image, animation, illustration, photography and sound design. I use found objects and found sounds as materials in my work. I’m currently researching how these kinds of cross-modal representations are possible from a cognitive point of view. The language of sound suggests sound conceptualisation is metaphorical in nature. I argue that sounds are fundamentally understood in terms of objects: sounds can exist within space: ‘up’, ‘down’; they can have texture: ‘rough’, ‘soft’; they can have force: ‘piercing’, ‘powerful’; etc. These metaphors are reflective of the conceptual system we use to understand, communicate, and be creative with sound and importantly they have experiential, embodied bases. The fact that certain images and sounds can be representative of one another, despite pertaining to totally separate physical phenomena and stimulating separate sense organs is fascinating, and it allows for some interesting questions and audio-visual experiments.What’s the effect of juxtaposing visual sound representations with our ingrained conceptualisations of sounds? What kind of cognitive dissonance does this create - an ‘upwards’ sound with a downwards movement, for example? Does showing a large object with a ‘small’ sound project largeness to the sound? Does it project ‘smallness’ to the object? In what way can the perception of sound and image be altered through these contrasts? firstname.lastname@example.org www.leonjrg.com
Hannah scott I am a fine artist and media designer. My practice incorporates painting, photography, film, and installation. Through fusing interests in science, nature, and travel, I explore ways of visualising and communicating climate change. Focus is given to the impact of plastic on the environment, and in particular the effect of plastic waste from Britain. I aim to explore some of the ways in which art can effectively communicate environmental issues without being didactic or overly moralistic, whilst also challenging audiences to question the impact of their own lifestyle choices, and to consider solutions towards achieving a more sustainable future. This project will continue after I graduate, when I will join an expedition to the Arctic Circle to further consider the relationship between Britain and the Arctic. Thanks to Waitrose Kings Cross and Biffa Polymers for their support. email@example.com www.hannahscott.com
Maria Macc My curiosity in the human body was re-awakened a few years ago when I discovered the Evelyn Tables and the Alternative Limb Project. I developed works focused on nature’s ability to overcome adversity, conveyed through combining organic and synthetic materials. With a process-led style of making, I utilise techniques and resources from other practices to concentrate on surface manipulation. Over the past year, I have been observing the internal structures of the body by studying pathology specimens at the Gordon Museum. This experience was enhanced through spending time in the dissection laboratories, engaging in anatomical drawing sessions observing cadavers; by visiting La Specola, the wax anatomical collection in Florence, and even undertaking a course in taxidermy - a challenge for a committed vegetarian! ‘Beyond the Fabrica’ revisits the relationship that artists have had with physicians since the Renaissance. Through a collaboration with Mr Billy Leung, a trainee surgeon and anatomy demonstrator with a special interest in medical illustration, the wall-displays highlight the contrasting form of artwork used for anatomy teaching in comparison to my visceral response. The tropes of science are borrowed to question the advancement of the human body through interventional surgery. I am interested in investigating life extension through: bio-materials, bio-functionality and bio-compatibility, including embracing animal matter into the human body. This raises issues regarding how we face our fragility; confront, and embrace death, and the worth of human body donation to advance life and learning. With special thanks to Mr Billy Leung, MBBS BSc MRCS MSc DOHNS,Trainee Surgeon and Anatomy Demonstrator, London. I am also grateful to: Bill Edwards, Curator, Gordon Museum of Pathology; King’s College London Anatomy Society and Suzette Field. firstname.lastname@example.org www.mariamacc.co.uk
Agnese Basova I am a fine artist with a background in medicine. My art practice incorporates nature, animal rights, the environment, and microbiology. I am interested in naturally produced materials that are exceptional in their physical and chemical properties, produced by nature, and which can be manipulated and explored through artistic process, such as spider webs, bread mould, and slime mold. During my artistic process I change the naturally derived, synthetically produced, materialâ€™s physical and visual properties to create a new environment or object. The artificial, human-made, polluted environment, where the line between what is natural and synthetic is blurring, offering optical illusion; the landscape that is dramatically changed that has become a reflection of us, where animals are objectified and kept under control. At the end, each material takes a different shape, changing itâ€™s visual or physical properties. It is as much about the creation of an art object using the natural material as it is about the ability to participate in the process of creation. To collaborate with nature, to take a different and unexpected shape that without my interference would never appear. email@example.com www.agnesebasova.wix.com/artist
Heather Scott My work explores black holes, and imagining what it could be like inside and beyond one. In particular, I have been researching Kerr-Newman and Reissner-Nordstrom solutions to Einsteinâ€™s theories as they potentially allow for travel through a black hole to another universe. Using differing theories on black holes and trying them to connect together in new ways, informs the visual outcomes I produce. My aim is to allow the viewer to sensuously engage with the piece by portraying black holes on a personal level, challenging them to think about what they believe is beyond the event horizon. firstname.lastname@example.org www.graphicdesignhs.co.uk
iting SHIH I am a fine artist and a computer science engineer, having transferred to art from a substantial engineering background. The work for the degree show addresses ‘Artificial Intelligence’, an idea with roots in science fiction, developed by science. It is dominated by the challenge of realising things that used to exist only in our fantastic dreams, and which are associated with the interactions between humans and technology. Through the development of A.I., humans inevitably test the boundaries between human and artificial intelligence.To some extent this is because we are subconsciously afraid of the possibility of losing our humanity in the technological, virtual-reality world. I chose ‘Genesis’ as the reference point for my sculptures to symbolise the relationship between human and android, enlightenment and reciprocation. Computer science is the foundation of virtual reality; the technology which makes approximate simulations and realistic virtual visualisation possible. My program demonstrates how computer graphics are processed, and how virtual reality worlds are built by showing the incremental transformation from the digital world to a convincing simulated analogy. Instagram: shihletitia
yu ji I create artworks linking art and science together to discover new frameworks for existing mindsets. My practice draws from research on cognitive science, neuroscience, and programming. I am interested in human living, growth and evolution. â€˜Emotion is the trigger of human developmentâ€™, a concept from neuroscience, is the foundation of my degree show project. I am currently researching the creation of emotion and thoughts, and establishing a method of creating art that systematically uses emotion as a resource material. email@example.com
Virginie Serneels I am a visual artist and my practice encompasses performance, video, installation and photography. Part of my work focuses on the relationship between the body and the moving image in the context of performance. I often use primary sources of research such as interviews and testimonies in order to address societal issues relating to the human condition. My degree show project, ‘Motion Has Always Been An Important Part Of Who I Am’, is the result of a collaboration with ex-classical dancer Clélia Strambo. It explores her life story and through her experiences addresses universal topics such as the impact of having a passion in one’s life, what success means, and how art can be used as a catalyst to overcome trauma. I personally feel extremely grateful to have met such an amazing woman and happy to share with the public what I have learned from her. This project was made possible by the in-kind support of Jana Valencic in memory of her mother Eka Valencic. firstname.lastname@example.org www.virginieserneels.com
Monika dorniak My practice is influenced by an artisanal and agricultural family. I have German, Polish, and Lithuanian roots marked by the trauma of sociopolitical events. Research of my familyâ€™s biography is a continuing process that further unfolds itself through my studies in multi-cultural philosophy, science, and politics. A decade of fusing fashion design, psychology, and contemporary dance scripts my artistic vocabulary. This multidisciplinary method results in new ways of approaching performance, textiles, video, photography, sculpture, and drawing. Sustainability is part of my philosophy my inanimate objects have multiple purposes: exhibited, used in performance, and decontextualised in new work. I analyse the permeable relation between the Self and Group, with historical and anthropological examples of isolation and group behaviour. I visualise current conditions and propose models of living in balance with developments in technology and culture, responding to thematics that survey drastic shifts in the era of the Anthropocene. Collaboration is key to my artistic development, and allows me to enrich my practice and expand borders of society - an ongoing project is collaboration between dancers and philosophers. I see contemporary dance as a philosophical language able to express theories beyond the limitations of science, and explore rhizomatic connections by valuing equally such disciplines as philosophy, science, dance, and art. email@example.com www.monikadroniak.com
Michelle von mandel
My work explores the sense of smell. I am interested in using scent like a painter uses paint - to capture a moment or an emotion or a person. I am interested in the relationship between olfaction and the other senses, especially the associations we make between smells, colours, and sounds. I am interested in nostalgia - both personal and cultural nostalgias for times, places, and ideas. My current work investigates my own nostalgia for my childhood in the 90s through the use of scents that are both culturally and personally nostalgic.
firstname.lastname@example.org www.michellevonmandel.com Instagram: @perfumepervert @michellevonmandel
Animate Projects Invisible Signals is a creative response to the Silent Signal project (commissioned by Animate Projects), where artists and scientists collaborated to create animations that explore new ways of thinking about the human body. Students from Central Saint Martins MA Art and Science and MA Character Animation programmes worked with Silent Signal collaborators Genetic Moo, Dr. Neil Dufton (Battle of Blister), Samantha Moore and Dr. Serge Mostowy (Loop) to interpret and extend ideas addressed in their animations. The workshop, designed and delivered by students under the guidance of Heather Barnett, included a lecture on the science behind emotions, a game relating to art and emotion, and the possibility for participants to try different animation techniques such as stop motion, the use of projected light through drawing on over-head projectors, and live digital drawings with video projectors. The project ended with a symposium held at Central Saint Martins on June 16, 2016, and included a presentation by the students and a Q&A. Participating students from the MA Art and Science were Virginie Serneels and Marta Pinilla, and from MA Character Animation Emanuele Romano, Aurora Suriel Melchor and Jiani Zhao. Video documentation of the workshop: https://vimeo.com/176611613
Go Science The Government Office for Science (GO Science), in partnership with DEFRA, will be releasing a report focusing on waste, exploring it in multiple dimensions and drawing from a broad horizon of expertise and insight. The report explores the potential for change in the use and reuse of waste with the aim to engage policymakers and politicians across the political spectrum. It explores the economic, scientific, legal and societal problems and the policy solutions that emerge when addressing the issue of waste. Collaboration between MA Art and Science and GO Science involved artists from both years of the MA who over the course of a year developed individual projects based on research covered within the report.The resulting work was shown in the exhibition Tracing Wastelands which focused on the materiality of waste and how human agency plays a vital role in this transition. Teasing out strands of the same chord, the exhibiting artists (Julius Colwyn, Silvia Krupinska, Beckie Leach, Hannah Scott, Stephanie Wong, and Jennifer Crouch) investigated scientific, social and cultural perspectives, evolving a range of methodologies to what the concept of waste means, and our responsibility towards it. Ellie Armstrong and Julius Colwyn curated the exhibition. Student artwork is also being used within the GO Science report.
TheCube london The em-em (embodiment and emotion) residency is a seven month long collaboration, started in March 2017, between seven Central Saint Martins MA Art and Science students and THECUBE in East London. Participating artists are: Monika Dorniak and Virginie Serneels both graduating in 2017, and Allison Barclay, Julie Light, Jill Mueller, Lisa Pettibone, and Eleonora Sher graduating in 2018. For this residency each artist is exploring a unique aspect of embodiment and emotion relevant to their ongoing practice, including topics such as gravity, sensory perception, objects and memory, and our emotional identity.The work and interests will be shared through an exhibition and a series of talks open to the public.Through the em-em residency, the artists aim to bring new perspectives to current dialogues around mind and body, building bridges between disciplines. www.em-em2017.com
Tate exchange Tate Exchange, at Tate Modern, is an international learning project about collaboration and exchange, connecting schools, galleries, artists and cultural institutions all over the world. Nine students from three different Masters courses at Central Saint Martins were selected to take part in a two year collaboration that started in 2015 at Tate Britain and continued until 2017 at Tate Modern. The selected students were Iting Shih, Neus Torres Tamarit and Jana Valencic from MA Art and Science, Boram Jang from MRes Art Theory and Philosophy, Pablo Castaneda and Camille Leherpeur from MA Fine Art, and Victoria Batt, Juan Covelli and Neale Willis from MA Photography. The collaboration consisted of performances at Tate Modern and Tate Britain, creating artworks in collaboration with the Srishti Institute of Art, Design and Technology, taking part in the online platform for cultural exchange all over the world, and creating a workshop to activate artworks exhibited at the Tate galleries, as part of the opening events for the Tate Exchange. Neus Torres Tamarit was inspired by Ophelia, by Sir John Everett-Millais and the micro-biome of an environment. She created a series of artworks and workshops for the event â€˜Activating Art through Science and Technologyâ€™ at Tate Modern, that involved cutting up reproductions of iconic Tate artworks featuring life and death into strips and reorganising them according to genetic sequences from the NCBI metagenome database. Iting Shih explored the contradiction and conflict of boundaries in cultures, and classic and modern art through a performance at Tate Britain, in which she invited the public to reflect about current cultural issues whilst standing on a plinth.
ÂŠTate, photographer Ben Smith
Arts Catalyst ‘Side Effects’ and ‘Why Make it Simple, When You Can Make It Complex?’ A collaboration between Arts Catalyst, Robert Whitman, The Performance Studio and MA Art and Science at Central Saint Martins ‘Why Make it Simple, When You Can Make it Complex?’ came into being as a result of a two month collaboration between Central Saint Martins and Arts Catalyst. Our temporary artist group consisted of students Monika Dorniak, Virginie Serneels and Nicolas Strappini from MA Art & Science, and external alumni Verena Hermann and Mary Simmons, MA Fine Art at UCA Farnham. The project developed out of Arts Catalyst’s exhibition about the revolutionary ‘9 Evenings: Theatre and Engineering’ project presented in New York in 1966, involving artists such as Robert Rauschenberg, Yvonne Rainer and John Cage. In the first stage of our project we worked together with one of the original participants, Robert Whitman, helping to develop his performance presented on October 7, 2016. His 1966 piece reinvented the rules of theatre and performance by including elements of engineering, and integrating off-stage activities with live video footage. We attempted to retain and reimagine those elements. In the second stage of the project we were asked to develop new works that questioned the idea of performance in the 21st century. Marita Solberg, a visual artist and musician based in Tromsø and Manndalen, Northern Norway, developed a workshop with us to help facilitate the generation of ideas. For our group show we worked with David Thorne, the founder of The Performance Studio in Peckham. In response to the performance we presented our artistic interpretations at Arts Catalyst (October 29, 2016) and The Performance Studio (November 9, 2016).
Cern From experiments with cloud chambers to exploring NASA space models and a meeting with a Nobel Prize winner, 21 students and staff from MA Art and Science explored CERN on an intensive four day trip to Geneva. Some of them share their experiences of the trip below. “We set out to find out as much as we could about the work and life of CERN, challenging our preconceptions of how art could help with the process of thinking and conceiving new ideas. We found out so much about everything from detectors to the photons in the Large Hadron Collider. I’m looking forward to making more black hole experiments back at CSM.“ - Heather Scott “One of my highlights was the final lecture from Prof. John Ellis, who reminded us of a painting by Gauguin which had the following statements tucked in a corner: ‘Where do we come from?’, ‘What are we?’, ‘Where are we going?’. CERN focused the mind on attempting to better understand the universe and what we can contribute to the sharing of scientific thought.” - Maria Macc “I was particularly keen to experience Mick Storr’s cloud chamber experiments with my colleagues. We were challenged to think as physicists or meteorologists, to create our own chambers and describe our findings. Eventually we worked through our observations and in one afternoon we had created a device to detect ionizing radiation!” - Nicolas Strappini Artworks developed in response to the trip will be shown in two upcoming exhibitions: Entangled: CMS/CSM - June 14-17, 2017, and at The Crossing in Central Saint Martins - November 2017. Follow MA Art and Science on Facebook for exhibition and research updates. We are very grateful to Dr Mick Storr, Dr Michael Hoch and their colleagues at CERN. And thanks to Dr Andy Charalambous, Associate Lecturer on the MA, for organising the trip.
The light outcries the tragedy. The edge imposes the hell near a unimportant publisher. The person nests a tolerant insect. Why won’t the ram credit a select bug? This penguin dries a rot. A conditioned shareholder cashes a stimulated referendum. The light outcries the tragedy. The edge imposes the hell near a unimportant publisher. The person nests a tolerant insect. Why won’t the ram credit a select bug? This penguin dries a rot. A conditioned shareholder cashes a stimulated referendum. The light outcries the tragedy. The edge imposes the hell near a unimportant publisher. The person nests a tolerant insect. Why won’t the ram credit a select bug? This penguin dries a rot. A conditioned shareholder cashes a stimulated referendum. The light outcries the tragedy. The edge imposes the hell near a unimportant publisher. The person nests a tolerant insect. Why won’t the ram credit a select bug? This penguin dries a rot. A conditioned shareholder cashes a stimulated referendum. The light outcries the tragedy. The edge imposes the hell near a unimportant publisher. The person nests a tolerant insect.
Thanks to: Nathan Cohen, Heather Barnett, Adrian Holme, Susan Aldworth, Tamsin van Essen and Roberta Ballestriero for the guidance and support they have given us. Andrew Charalambous for our trip to CERN. Michael Hoch at CERN for showing us around the different sites. The Go Science team, TheCube, Arts Catalyst, Tate and all our external collaborators. All the students that helped to put the PR, social media and show together. All the technicians who have helped us create our work.
Printed by: Graphic design and catalogue design by Heather Scott
Ma Art and Science Central saint martins
Published on May 23, 2017
Published on May 23, 2017
Third Matter degree show catalogue 2017 from MA Art and Science, Central Saint Martins (University of the Arts London) featuring work from g...