The final piece, called Diorama 1, was finished at the end of 2020, but because of the coronavirus situation it has not yet been possible to take the artwork to Leeds to be displayed at St James’ Hospital. However, we decided it would be good to start sharing online rather than waiting until it goes on physical display, so here is a selection of pictures….
Images are by Robyn Manning Photography, who can be found on Instagram as @robyn_manning_photos. I am extremely grateful to Robyn for her patience in setting up everything so that the Diorama looks its best – thanks Robyn!
I thought it might also be interesting for people to see an example of the transition of lighting of the vesicles – this video was taken on my phone, so don’t blame Robyn for the ‘blown out’ exposure of the illuminated vesicles….
As soon as the idea of a diorama came to mind, I felt that the backdrop should reference the research project itself, not just the scientific concepts and phenomena that were the subject of the research. When I discussed this with the team, they were all enthusiastic, so I started working on the kinds of materials I wanted to include.
During my visit to the lab, I had been very struck by all the handwritten calculations that formed an active part of the experiments that I was viewing. For me, this not only references an important research activity, but the handwriting also emphasises the human hand involved in the process.
Andrew kindly agreed to provide me with some of his calculations.
I also wanted to use images of cells that forms a central part of the research, so trawled through a number of different types of microscopic images searching for the ones I thought would work as part of a diorama. My intention was to create a layering of information and data that reflected different parts of the research process and different stages of development of the project.
During various conversations with Paul and Tom we had talked about issues in scientific publishing. This was something I had an awareness of since my involvement with the Royal Society’s Research Culture project that had spawned the Museum of Extraordinary Objects, but it was brought home to me the critical role that science journals play in the dissemination of knowledge, and the complex and – to me – unsavoury considerations that can determine who gets to see the outcomes of research. As an independent researcher I am only too aware of the paywalls that inhibit people’s access to information and the high cost of getting hold of many articles. See this Guardianeditorial if you want to be horrified by the economics of the science publishing industry model.
I was delighted that one of the articles that sets out the initial premises of the project was Open Access (although I was disturbed to learn that academic institutions have to pay publishers to have their articles Open Access). I determined this would form another element of the diorama backdrop.
I discussed with Paul the issues around editing and processing the research images to create the effects that I wanted, and he was sanguine with the images being changed as this was for the purposes of creating an artwork rather than for scientific purposes. So I set about processing the images and ended up with three elements for the backdrop.
The backdrop images were printed and mounted on transparent or translucent acrylic sheets. This mounting would allow different levels of visibility and layering from different angles and under different light conditions…