Roxy Paine’s Maelstrom
Paine says that Maelstrom tries to convey five ideas at once: “a forest downed by an enormous destructive force, both natural and man-made; the force itself, churning and violent; the trees in the process of becoming abstract; a factory pipeline run amok; and a mental storm, like the electric pulses that run through the brain during epileptic seizure (via)
llustrating the forces lung cells exert as they form capillaries, this 3.5-meter-tall work composed of 75,000 cable zip ties depicts five snapshots from a computer simulation of lung endothelial cells pushing against and pulling on the protein matrix that surrounds them (Peter Lloyd Jones, Andrew Lucia, and Jenny E. Sabin)
Brandon Ballengée :: Monstres Sacrés
(High-resolution scan of chemically cleared and dyed preserved deformed frog)
It was the first time I ever went to an art show where the art had gotten unruly and climbed outside its frame. A Sunshine-looking installation by Philip Ross of plants growing inside glass tubes of water (above) had turned into a jungle of plants breaking out of their transparent prisons and in some cases actually knocking bits of the sculpture onto the floor. It was the perfect example of how bio-art works: created from living materials, it breeds and grows and behaves just as illogically as life itself.
