SciArt Magazine - All Issues December 2015 | Page 14
Cellular Dialogue (2012). 36” x 36” x 10”. Acrylic
on Mylar. Photo credit: Mimi Xang Ho.
Below the cones are circular, overlapping cutout
shapes symbolizing the similarity of patterns at both
the micro (the brain) and the macro (outer space)
levels, serving to create a bridge through patterns
between astrophysics and neuroscience. Placed in
the center of the circular forms are rocks mimicking
similar shapes and representing a connection to nature. These patterns are similar to those found within
inner and outer space.
The installation is further enhanced by Susan Alexjander’s spoken word soundscape exploring how the
brain interprets fragments of information in creating
new meaning and understanding.
Terry Lowenthal’s video projection of Moving Poems
adds a kinetic element to the content of the installation. Utilizing Cajal’s famous ‘butterflies of the soul’
quote, bookended by fragments of Steven Fowler’s
poems, the video adds another level to the complex
patterning inspired by the poetics of inner and outer
space.
JB: The majority of your sculptural work is playfully
colorful and built from a sort of web–like pattern which is
applied differently in each piece. Could you describe your
artistic process, from conception to finish?
RK: Much of my sculpture explores an interest in
nature as a mapping system of energy. I am informed
and inspired by both micro and macro views of the
universe as well as other scientific visualization mod-
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Catalyst (2013). 10” x 10” x 2.5”. Acrylic on
Mylar. Photo credit: Mimi Xang Ho.
els such as fluid mechanics and fluorescence microscopy. The choice of colors on my Mylar sculptures
is purpos