Designing Flowers For A Bee-Less Future


A world without bees?

Originally posted on Exploring The Invisible:

The flower inthe  dark with the bioluminescent light guides clearly visible

The flower inthe dark with the bioluminescent light guides clearly visible

The same flower in daylight

The same flower in daylight

A flower that looks like any other flower in daylight, but turn off the lights and its unique engineered bioluminescent light guides become visible. Specialized cell structures  on the flower called lumocysts express the luxABCDE genes from the bioluminescent bacterium Photobacterium phosphoreum giving the flower tissue the ability to make light. The quality of the  light produced by these bacteria, and now the plant, is unique and it  has powerful  lure-like qualities so that when bees become extinct, the plants will attract and be pollinated by night-flying insects like moths. Night feeding carnivorous plants might also be developed though this technology.

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In the not too distant future it is predicted that wars will be over basic natural resources such as water. In these fascinating articles we are reminded how we continue to abuse this vital resource and ignore the impact of our behaviour on its supply and quality.

wave man stare

It’s the Small Things


The joy of life expressed here so poetically that it makes you smile…inside…outside. Feel good read this. Feeling bad read this.

Originally posted on somewhere nowhere blog:

stone pine coneFour years ago, we collected a pine cone hard as stone. There were no gaps or spaces between the folds of the cone and it sat in my hands heavy as a rock, but unlike a rock, this weight was full of promise. Full of trees.

This cone – the perfect container for seeds of the Stone Pine – rested silent, heavy, dormant on our windowsill. It sat there for months, then for a year, then for another. It moved house, changed locations, then took its place in a group of three cones on a plate painted with a sunflower. Silent, heavy, sleeping.

pine cones on a plateThree years passed and then it changed. The cone shifted in its woody way from stone to flower – unseen by our eyes, its fronds had opened like petals, and around the cone, on the green and yellow of the sunflower plate, were the seeds. Silent…

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Today, is a special day.

Sometimes fate plays its hand and contrives to make a culmination of various unconnected events happen on one day – today is such a day. Celebrating my birthday is normally marked quietly, it’s an age thing more than any big statement about the anniversary of my birth, (although a few years ago I was up in a glider learning how to fly on my birthday).  So, the weeks pass and my husband and I agree to take the day off work,  (we usually try and do this each year – one of the perks of being self-employed)  and then my editor emails that the ship is arriving on 11 May with a cargo of my latest book about sculpture and that the launch date will be 12 May 2014 – my birthday!

So world here it is…

The publishers are offering £5 off the rrp, so it is £20 on their online shop and free UK delivery.


The Language of Mixed-Media Sculpture is both a survey and a celebration of contemporary approaches to sculptures that are formed from more than one material. It profiles the discipline in all its expanded forms and recognizes sculpture in the twenty-first century not as something solid and static, but rather as a fluid interface in material, time and space.

Topics covered:

  • It gives insightful revelations of the creative journeys of ten renowned sculptors
  • Useful technical information on a myriad of processes and materials
  • Twenty-eight international sculptors showcased
  • Inspiring imagery with over 200 colour photographs

The collection of exciting and dynamic international sculptors to feature in this new book includes: Andre Woodward, Catherine Bertola, Elpida Hadzi-Vasileva, Liliana Porter, Mary Giehl, Marilene Oliver, Pascale Pollier, Kate MccGwire, Niko Neelova, Michael Shaw, YaYa Chou, Yuebin Gong, Peter Freeman, Rachel Allen, Eliza Bennett, Awst & Walther, Andrew Burton, Noam Ben-Javov, Ricardo O’Nascimento, Stelios Manganis, Mark Houghton, Jac Scott, Janet Curley Cannon, Cath Keay, Liz West, David Chalmers Alesworth, Dorcas Casey, Jacob Dahlgren and Andrea Hasler.


My first book is still available too


Textile Perspectives in Mixed-Media Sculpture celebrates the prodigious sculpture created by artists who operate on the interface of mixed-media sculpture and textile art. It reveals the inspirations, influences and creative journeys of over thirty contemporary artists, and explains the practical processes and raw materials they use.
Introductory chapter contextualises textile perspectives in mixed-media sculpture and discusses elements that concern the sculptor in the twenty-first century. Illuminating text on the creative journeys of contemporary artists. Informative technical information on creating sculpture from plastic, rubber, plaster, metal and paper. Insightful profiles of over thirty contemporary artists specializing in mixed-media sculpture.


A Brief Microgeography of The Eden Project I.


Looking at things closely…differently.

Originally posted on THIS IS MICROGEOGRAPHY:

The microbiological world is a vast domain of life occupied by organisms which are too small to be seen with the naked eye. Because of their diminutive size, its denizens are largely ignored, yet in terms of impact and numbers, they represent the predominate form of life on earth. In fact, in the familiar settings of our towns, cities, and built environments, microorganisms have established overlooked, yet thriving and complex ecologies. Microgeography, seeks to highlight these microbial communities, that find a home within our built environments, and to explore the relationship between an urban environment and its microbial and human inhabitants through informed observation, and via a variety of playful and inventive strategies. Its aim is to take pedestrians off their predictable macroscopic paths and jolt them into a new awareness of the vast, but nearly always overlooked, urban microbiological landscape. The process also invites the observer to question the…

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Science Learning+: New Funding Scheme to Focus on Informal Learning


A welcome to Wellcome and informal learning about science

Originally posted on Wellcome Trust Blog:

Science Learning+ The Wellcome Trust has launched Science Learning+ to support collaborations between researchers and practitioners of informal learning. This new scheme will provide £9 million of funding to help us better understand the value and impact of science learning outside the classroom. Holly Story from the Wellcome Trust Education and Learning Team gives an insight into the aims of this ambitious scheme.

Around 80% of a child’s waking hours are spent outside of school. That’s a big chunk of time, especially when you’re eight years old and the summer holidays are stretching out in front of you, and children don’t stop learning when they leave the school gates. This time is a fantastic opportunity for children to learn in different contexts and through more informal channels: through activities or events, festivals or games.

Edinburgh Internation Science Festival Launch 2010

Image credit: Jill Todd

The science engagement community in the UK provides many exciting and innovative opportunities of…

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I am a voracious consumer.

I hanker after knowledge that will provide insight into the way we live, so my consumption habit is not for material things, but rather for information.  The New Scientist is a favourite read so when it featured a nine-page special on The Meaning of Stuff  (29.3.14) I was captivated.

My viewpoint on consumption is skewed by science – the questions why and how occur frequently – only ever partially answered in my research as theories become disputed and overturned by specialists.

“The rise of a biographical approach to things has documented the myriad of taxonomies, uses and valuing regimes that objects can move through before they reach the end of their lives, if they ever do.  Framing things as rubbish doesn’t just help us eliminate things from our lives, it also helps us experience the fantasy of self sovereignty and ontological separateness”.

Gay Hawkins, The Ethics of Waste (Rowman & Littlefield 2006).

Anthropologists suggest that our historical nomadic lifestyle prevented a great accumulation of possessions.  The first hunter-gatherers slowly evolved to carry fire, tools and clothing, starting to mark themselves out as individuals by garnering objects that reflected status and skills, as they travelled. This “extended phenotype” ( proposed by the eminent scientist Richard Dawkins, adds weight to those archaeologists who argue that our sense of self was established early and its sophistication distinguishes us from other animal species.  As a sedentary lifestyle developed it allowed the accumulation of possessions and defined hierarchies within communities.  This form of society nurtured a material culture where the display of tokens of grandeur and power reinforced respect and authority – evidenced in the wearing of fine clothes and jewellery.  The level of sedentariness drove settlers to accumulate more goods and more livestock to insure against disasters, which entailed acquiring containers for hoarding and buildings and pens for housing the animals.  The gradual sprawl of settlements can easily be linked to the history of food, as discussed by Carolyn Steel in Hungry City (Chatto & Windus 2008), whilst embryonic politics and economies emerged with goods being bartered to oil the wheels of peaceful relationships with neighbouring communities.

“The consumer age is predicated on the idea that we no longer consume to live, but live to consume. This ideology of consumption determines how individuals perceive and interpret the world around them; making consumption the dominant social paradigm.”

Hidden Mountain: The Social Avoidance of Waste , Edd de Coverly, University of Nottingham, Pierre McDonagh, Dublin City University Business School, Lisa O’Malley & Maurice Patterson, University of Limerick–the+social+avoidance+of+waste.pdf


Today, we clearly recognise that the possessions we buy tell others about our extended selves.  It is not simply about owning things but which things – the right things – this of course changes depending on who you are.  Objects reveal “Who we are, where we have been and perhaps where we are going” states Russell Belk, York University in Toronto, Canada whilst Catherine Roster at University of New Mexico, Albuquerque suggests that they are “repositories of ourselves”.  She believes that the value can vary significantly from each individual and that its material value does not always influence the actual value to the owner.  Here an emotional underpinning is prevalent, starting very early in babies as revealed in their relationships to basic things such as a favourite blanket or toy.

Humans get emotionally attached to certain possessions – usually those that hold sentimental memories.  Scientists have found that triggering an emotional response to an object will lead to greater sales of goods.  The current innovative project Shelflife, run through Oxfam charity shops, is cleverly tapping into this theory by enriching an object’s narrative through the potential purchaser being able to digitally read the story behind it on an Oxfam app.

Andy Hudson-Smith in the Bartlett Centre for Advanced Spatial Analysis at University College London originally devised the project in 2012.  Hudson-Smith reasoned that a digital society could connect with the story buried in the physicality of an object and thereby tap into an emotive thread, but through electronic means.  The idea has led to an increase in sales for Oxfam and a widening of the project’s scope to include more retail outlets.

So how does this information inform and guide my art practice?

My own struggle against the fabrication of ‘stuff’ is well documented, made particularly difficult as a sculptor driven to create yet not wanting to contribute to an already ‘over-stuffed’ world.  Consequently, my practice ethos is to work with existing objects whenever possible so not to contribute to the mountain of possessions but instead to seconder and reinvent.  The conceptual underpinning is vital leading an approach that demands the innovative use of found objects and a considerable amount of searching for that particular metaphorical ‘thing’. Cognitive battles ensue with a rewriting of the discarded and their repositories of memories redefined.

“We are embedded in our trash – there is no way to leap beyond it and build a utopia without garbage, to address the contradiction between the world’s limited resources and our seemingly unlimited ability to manufacture trash.  Its production is rooted in survival, represented in every culture, and magnified by economic success. To purge the earth of garbage would be to destroy our own reflection.”                                                  

John Knechtel, Trash (Alphabet City Media Inc 2007)

My passion for the tactile and the eroded emerges in sculpture that in its corporeality reveals brooding degradation: the peeling layers inviting a meditation on the narrative exposed.  The work appears in distress – juxtaposing incongruous matter to create visual poetry is precarious.  Balancing a metaphysical perspective to harmonise or argue with scientific evidence is challenging.  This disputed landscape is inhabited with vigour until I retreat leaving the work to command its own domain.

“Artists don’t aim for a reductive simplicity but they, too, have an encompassing sense of what Coleridge called ‘cohaerence’ – ‘the clinging together’ of all the elements in a work to make some kind of whole which is psychically satisfying.  This is not to suggest that there is an ultimate fixed reality to be found but the artist’s personal vision will re-inform and reinvent a view of it, sometimes honing in on things that are apparently redundant and inconsequential and paradoxically presenting us with a coherent reflection of a corner of reality that we perhaps should not overlook.”

Siân Ede, Art and Science (Taurius & Co ltd 2005)




Image of the Week: Varroa Parasitic Mite


More bee stories to keep us on topic although the artificially coloured mite is not my idea of good art or science.

Originally posted on Wellcome Trust Blog:

B0009404 Varroa destructor, honey bee mite, SEM

This week’s image is of the little mite that might cause the end of food production as we know it. The varroa parasitic mite attacks the honey bee populations needed to pollinate a range of valuable crops including sunflowers, almonds and tomatoes. After attaching itself to the underside of the bee, the mite sucks the hemolymph, a substance that surrounds all the bees’s cells.

It is only possible to see this varroa mite so clearly because the image was created using a scanning electron microscope. Verroa mites are actually only 1.5mm by 1mm making them almost impossible to see on a live adult bee. In reality this mite would also be a red brown colour providing camouflage against the surface of its victim. All images created with a scanning electron microscope are originally colourless, and in this image the purple and green colouring was added later to help us see…

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