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- 14 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