art & science

Tracking Family Connections

The project I am currently working on examining, in part, the connections among my various family members. It's fascinating to me that we all know each other so well, and yet at the same time don't know each other at all. What connects us as a "family"? A. Hope Jahren, currently a professor of biogeochemistry at the University of Oslo, recently published an essay in The New York Times titled

"My Father's Hackberry Tree". In it, she describes a connection to her father that arose from her research work:

"...In 1993, my father collected hackberry fruits for me. My task that year was to observe the development of the seed over the course of the growing season, and I had earmarked several trees in South Dakota for that purpose. During a rare visit home to neighboring Minnesota, I saw with new eyes the fine specimen of C. occidentalis that graced the southwestern corner of my parents’ property.

I asked my father if he wouldn’t mind pulling off a few fruits every week throughout the summer, and he obliged. From May through September, he visited our hackberry tree twice each day, carefully recording the weather conditions, and also sampling, first flowers, then green fruits, then ripe, then withered, all placed into small plastic vials. Hundreds and hundreds of fruits — each week’s harvest wrapped in a sheet of paper describing its yield.

... (My) father spent the better part of his 70th summer observing a single tree, and in the end, gave me a hundredfold more than what I had asked for.

My father can no longer write. He is 92 now, and he cannot make his hands work. He cannot walk, or even stand, and he can barely see. He is not certain what year it is, but he is sure that I am his daughter, and that my brothers are his sons, and he treats us just as he always has...

When I visit him these days, we sit in the same house that I grew up in, but we don’t talk about science anymore. ... (We) talk about poetry instead...

As with many Midwestern families, great distances pervade our relationships — both literally and figuratively. We never really talk to each other; instead we box up our hurts and longings and store them for decades, out of sight but not forgotten.

... This year my father and I have spent (the summer) inside, reading...

In the fading light, we offer each other words that were carefully written by dead strangers, because we know them by heart. We also know that children eventually leave. Even when they do come home, there’s always the end of the day, of the week, of the summer, when they fly away to the other side of the world, off to a place where you cannot follow.

This month I am leaving Minnesota, and the United States, relocating yet again, to build a new lab and start over a fourth time. Compared with my previous moves, I am taking very little with me. The dead fruit of my early career has now been discarded. Instead, I carry in my luggage a delicate pile of paper. It is the small bundle of notes written in my father’s handwriting that I recovered from the box of hackberries he collected.

The notes are precious because they constitute proof — proof that my father thought of me every single day and must still do so. Proof that I am his, our shared last name written on every page. Proof that no one in the world knows that tree the way he and I do.

Our hackberry tree still stands, tall and healthy, near the western edge of Mower County. It should outlive both of us, growing stronger and greener even as we inevitably wither and fall. The tree will remain in my parents’ yard, and the notes describing what it was like 20 years ago will go with me, though its fruit will not.

I am taking with me only what I can’t live without, and the utility of these letters is clear. This collection of papers, filled exclusively with symbols and dates and botanical terms, is all of the things that my father and I have never said."

How beautiful that a collection of simple scientific data can make such a profound connection with a loved one. This task that was performed daily for a summer left behind evidence of that love, of the fact that the father thought every day of his daughter, and performed a service on her behalf. The notes that Jahren's father made say "I love and respect you." in a different way than the words themselves, and which is profoundly affecting.

Members of a family sometimes express attachment and affection for one another in such subtle ways that they can be essentially invisible or are not seen for what they are. It is this sideways approach to familial relationships that I am examining right now. What do we discover about our families and our selves when we look for evidence of love and connection in the less obvious places, in the places where links are there, but lie undetected? Trying to answer this question is requiring me to think quite differently than I have in the past about how to portray these issues visually.

Artists I Like- Dario Robleto

The best things often happen when you aren't looking for anything to happen at all. On a whim, I turned on the radio to an NPR station the other day, and almost instantly forgot my surroundings because I became so focused on the interview I was hearing. Dario Robleto, a conceptual artist who makes primarily sculptural pieces but does not limit himself by media, was talking with Krista Tippet for On Being, a radio show and blog based on examining the fundamental question: "What does it mean to be human, and how do we want to live?" What Robleto had to say about memory, art, depression, history, relationships, etc. spoke to me deeply. He values words as much as art objects and it's clear that he thinks a lot about the origins and execution of his work. What else can I say?! Listen to the podcast and prepare to be moved.

The Sun Remembers Your Shadow, 2012


Artists I Like- David Maisel

A few years ago, David Maisel created a body of work titled "History's Shadow".HS_AB8A8B_MAISELHere is what he says about it: "History’s Shadow has as its source material x-rays of art objects that date from antiquity through just prior to the invention of photography. The x-rays have been culled from museum conservation archives, re-photographed and re-worked. Through the x-ray process, the artworks of origin become de-contextualized, yet acutely alive and renewed. The series concerns the dual processes and intertwined themes of memory and excavation."

I find this body of work thought-provoking partly because of its simplicity. By specifically choosing to use x-rays of objects that pre-date the invention of photography, Maisel asks us to consider aspects of these objects that it was impossible to "know" without the photographic medium. HS_GM16_MAISELThe x-rays animate these objects in a weirdly magical way. As a viewer, I think about the vision and intent of the humans who created the objects in the first place, as well as wonder what the makers of the x-rays hoped to discover so many years later. It's a wonderful approach to memory and history- two of my favorite subjects.

The Importance of Photography

Anyone who reads this blog knows that I read - a lot. I read books of all kinds, magazines, newspapers... pretty much anything I can get my hands on, as I love learning about things I know nothing about. As a result, I often stumble upon articles that have some kind of reference to photography, whether overt or implied. I find connections to photography and creativity in most things I read. The November 2013 issue of The Atlantic magazine contains an article titled "The 50 Greatest Breakthroughs Since the Wheel" which came from the opinions of a panel of 12 scientists, entrepreneurs, engineers, and historians of technology. Ranked at #29 was the invention of photography, which they consider to be among the "Innovations that expand human intellect and its creative, expressive, and even moral possibilities". Ranked at #5 was the invention in the early 13th century of optical lenses, without which photography as we know it would not exist. This was considered to be an innovation that extends life.

Because I'm a photographer, of course I would have included both of these items in my own personal list of 50 greatest breakthroughs. But it's great to see that others outside of the field consider it to be that important, too.

Art & Science- Caleb Charland

Caleb Charland is a photographer whose images inspire awe and wonder, particularly when you realize that all of his images are multiple exposures shot on film and then printed straight. Photoshop is not used in the creation of these puppies, which makes them even more amazing. calebcharland00In an excerpt from an interview, he explains his process: "Silhouette With Matches (see left) was a simple process of multiple exposure. I shoot all my work with a view camera on 4x5 film. Basically, I took one exposure during the day for the background, then one at night while lighting and tossing the matches. This process left the outline of my body without the use of Photoshop."


Charland's pictures are magical, taking me back to a time when I would make science fair projects in elementary school. Most of the time, I didn't really care if the project worked out, I just wanted to play with the stuff I was using to make the project with. Most often, that "stuff" had to do with matches and flashlights and things that moved through space.

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But they are also metaphorical, such as Footprints with Matches (see below). This image implies as much as it tells, and leaves this viewer thinking about how much damage mankind has left behind in its frenzy to build and develop the land. Technically brilliant, visually arresting, and wonderfully thought-provoking, Caleb Charland is a photographer to watch. matches



Art & Science- Niko Luoma

I've always been interested in the connection between art and science. I sometimes wonder if they aren't really one and the same, just different ways to understanding this universe we inhabit. The photographs of Niko Luoma refer to math, geometry, light (i.e. physics), and end up creating a magical universe that exists only on the photographic paper he prints on. He works with traditional analog photographic materials, making hundreds of exposures on one negative. The control he has over his materials is amazing.

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He says about his work: "My material is light. The work focuses on energy rather than matter. My work is about the process as much as about the result. ...Working only with light and light sensitive materials, I am fascinated by the fact that this process leaves nothing behind- no debris, no ruin- just an exposed negative."

Here's my favorite image of his to date:

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