scientific apparatuses ranging from early
curiosity cabinets to late 19th- and early
20th-century cases found in museums and
classrooms. Digital and analog prints of the
organisms will also be a major component of
this body of work and will draw inspiration
from classic academic scientific posters and
early biological specimen etchings. Surprisingly, I’ve just recently discovered the book
Micrographia by Robert Hooke and am find-
for the individual specimens and was also
instrumental in providing the resources to
explore the digital and analog printing processes that I am now using.
JB: In your series “Threshold,” you create what
feel like doorways or openings, into where is unknown. Sharing a visual similarity to your “Morphologies,” “Threshold” differs in that the viewer
becomes sucked in, rather than remaining an
observer. Can you describe the process of
creating this series, and what’s behind it?
PH: This series is a direct expansion
on the techniques I’m using in the
“Morphology Series” and came about
when I was asked to participate in a
gallery show called “Vascular Modes”
at Hallwalls Contemporary Art
Center in Buffalo, New York. The
curator, John Massier, was intrigued
by the idea of artists using the Gates
Vascular Institute’s architecture as
a starting point for the creation of
new art in the show. I’ve always seen
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