In any case, what’s interesting is the
matter of access to a new dimension of reality, invisible to the human eye, but not through the use of specific instruments. This concept can be found in the video Power of Ten by Charles and Eames, showing how nature is articulated in magnitudes, scales, size, degrees which we don’t know. There is a whole complexity out there , invisible, to which only technology and its means can gain access.
kind of approach to a natural phenomenon like light, and the way in which it is perceived and observed. I therefore think that the intersection between art and science is one still to be explored, beyond any Western dualism. Nano art, for instance, is located right in the middle of this point of intersection and communication, often “invisible” to our eyes.
Sivia Bertolotti: In your Nano art projects, especially in the Nano landscapes, you employed tools like scanning electron microscopes and atomic force microscopes. In EOD 02 there are sensors and antennas. What is the role of technology in your artistic creations? Frederik De Wilde: As I mentioned before, technology is a means that gives access to a dimension different from the one we usually access daily with our five senses. Essentially, it is a tool of exploration. Sometimes I abuse of it, from a scientific perspective. For instance, I had
Sivia Bertolotti: Speaking of Nano art, on your website you write: “The conceptual crux of his artistic praxis are the notions of the intangible, inaudible, invisible”. This is then what you call Nano art. Could you maybe tell us more about it and why this invisible point is at the intersection between art, science and technology?
created some home-made crystals that then I analyzed through a microscope and to which I added some other small particles, fragments of material etc. This procedure is not scientifically rigorous at all, but my approach is mainly explorative. Without technology certain dimensions of reality would remain
Frederik De Wilde: Nano art is an attempt to make visible what is not. The crux here is once again the perception of a reality that is assumed invisible. On the contrary, it is only a 50