Geology&Art: the exhibit!

In collaboration with Antonio Alberti and the University of Trieste, I organized  “Geologia&Arte” (Geology&Art), exploring the aesthetic diversity of geological art. The exhibit is based on accurate reproductions of geoartistic artworks, ranging from Renaissance paintings to modern microphotographs.

Featured artists include Philippe Salmon, Ian Barrett, Alexandre de Barde, Giotto di Bondone, Leonardo da Vinci, Bernardo Cesare, Licio Tezza, Charles Knight, Heinrich Harder, Fredric Church, Thomas Cole, Carl Spitzweg, George Victor du Noyer and Chris Drury.

Although “Geologia&Arte” represents a first glimpse in the world of geoart, the exhibit has met great success, being appealing both to geological and artistic thinkers. For this reason, I hope to improve the exhibit in the future, covering more artists and more media. There is whole geoartistic universe to explore!

Geological Mosaics

Mutual Core by Björk (video director: Andrew Thomas Luang).

In a previous post, we cited Björk and her geology-inspired songs. Crystals and tectonic plates populate Björk’s last album, Biophilia, which is celebrating natural phenomena in music.

In this context, continental drift is poetically described in Mutual Core, which is explicitly subtitled as "Tectonic plates, chords". Terse but expressive lyrics account for scale, a persistent theme in geologic art: “As fast as your fingernail grows, / The Atlantic ridge drifts / To counteract distance”.

Such visual verses have been recently mirrored by a colourful video, premiered at the Museum of Contemporary Art of Los Angeles.

Directed by Andrew Thomas Luang, the Mutual Core video represents a plethora of geological objects framed in the context of plate tectonics. For this reason, Björk’s video can be described as a geological mosaic, where individual tesserae – layers, lava, tectonic plates – combines in a larger picture. Consequently, a question might arise: are there any geoartistic analogues? Geological Inspirations in Textile Art – an exhibition at Bewdley Museum – provides an immediate answer. A similar language is adopted by the ceramic mural The Story of Life by Lorraine Malach, exhibited at the entrance of the Royal Tyrrell Museum of Palaeontology (Alberta).

Geological textile art by Georgia Jacobs. Image from the website of the Abberley and Malvern Hills Geopark.

The Story of Life by Lorraine Malach.

In this context, the artworks of Rachel Sager occupies a place of prominence. In fact, the artist authored mosaics sensu stricto, adopting  materials and themes intimately linked to geology. Specifically, Sager's tesserae are realized with sandstone, limestone, slate, shale, and even coal, whereas themes ranges from layers to natural gas reservoirs. As Rachel Sager writes in her website, "My artistic process includes large chunks of time spent sifting through the earth itself, gathering material. I am specifically dependent on my native Southwestern Pennsylvania geology".

Rachel Sager, Mighty Marcellus No. 1.

I had an interesting interview with the artist.


At what age did you become a ‘geologic artist’ and how did you know?

I would have to say fairly recently, although I believe becoming an artist of any kind involves a lifetime of real world learning and osmosis. I can remember spending long days as a child building stone dams in creeks and creating playhouses in rock formations. I have been surrounded by stone all my life, having grown up in a 200 year old sandstone farmhouse and having an amateur geologist for a father.  I knew I had become a geologic artist after I had built my first Marcellus mosaic in 2010. A light bulb flicked on in my head when I realized that sourcing my tesserae from the earth was not just possible, but entirely necessary for me. 

Do you have formal training in art or geology? 
I have a minor in art history and formal studio training in the Ravenna Method of mosaic. I am fortunate to have studied with renowned mosaic maestros from Italy who have instilled in me a great respect for a medium with thousands of years worth of  history and a future of very exciting possibilities. I consider myself a perpetual student and enjoy the self-taught lifestyle of reading on many subjects. In another life I see myself working toward a degree in geology. But in this life, mosaic is my commitment so I do my best to educate myself about the earth sciences in the extra slices of time.

 

Why do you feel the need to create mosaics about geology?  
Working with the earth’s own material gives me a visceral connectedness to it. It’s not about being a sustainable or green artist, which I consider to be unattainable labels anyway. It’s more about my direct relationship to the natural world around me and the sense of comfort it gives me to be up close and very personal with it. My native South Western Pennsylvania has a rich history of coal mining. My father, his father, and his father’s father worked small mines and made and lost their fortunes from the business. Coal is inextricably tied to my family history, and now, once again, geology has become centre stage, this time in the form of natural gas.  My home has become a hot spot in the world’s energy vortex, so there are many questions being asked and much tension being created about how it will all play out.  As an artist, I feel incredibly fortunate to have the tools to communicate my small part in the drama.
 

Detail of Mighty Marcellus No. 3.

Where do you get tesserae and how do you end up using them in a work of art?

Time spent in fields, rivers, roadsides and quarries takes up a large part of my artistic process. It’s one thing to appreciate a beautifully shaped or colored stone and pick it up to place on your coffee table. It’s quite another thing to hunt for stone with the awareness that you will be chopping it up. I will fill up a bucket from wherever I happen to be gathering and bring it home to my studio to be categorized. Using a traditional stone hammer which has sharp edges on both ends, I chop each stone into small pieces, and then smaller pieces, and often even smaller pieces. I will separate the cuttings from various stone into containers until I have the palate of shades and color I want. This cutting process is one of the great joys of my work. Witnessing the cracking open of a rock that has been sealed up for millions of years, to breathe in its dust, its smell, sometimes even its taste… this is one of the reasons I will always be a Geologic artist. 

Portrait of the Artist: Rachel Sager. From the artist's website.

What kind of workspace do you have?
My husband has built me a wonderful smallish 16’ x 15’ studio with one whole wall of windows for natural light, a concrete floor and a view of my garden.  I don’t mind that it’s not large because it’s well organized and I also have access to his much larger carpentry workshop when I need the big tools. The walls are covered with shelving to house clear glass jars full of hundreds of shades of glass, stone, and ceramic. I have a growing collection of rock hammers, each for its own specific task. I like to say that a girl can never have enough hammers! Having worked in many bad spaces over the years, I am very aware of the gift of a well-designed studio. It has become the heart of the house. I believe in rigorous studio time and part of getting myself there every day involves adding my personal magic to it. A studio should be a sacred space.

What is the favourite geological artwork you created?

This is a hard question to answer. Many of my works feel like little children who I appreciate for their distinctive gifts so picking just one feels a bit like being a bad mother. But, I will say that Fracture is a piece I continue to look back on as a little slice of perfection that I am unable to pick apart with a critical eye.  One of the realizations I have made as an artist is that every piece starts out perfect. Very few manage to hold on to that ideal all the way through to the end.  Fracture is a great blend of inspired concept, technique, and design. I still get a thrill when I’m fortunate enough to see it in person once in a while. I guess the only improvement I could have made to it would have been to make it much bigger! 

Rachel Sager, Fracture.

What artistic and conceptual metaphors have you used in the ‘Lithosphere series’?

For years, I felt compelled to work in circles without quite knowing why. I still feel and indulge in the compulsion, but I have a better idea of the why now after having done the research after the fact. The circle is an archetypal and universal symbol. It’s repeated in every culture, in every age, and represents many primordial human instincts tied into the psyche, spirituality, and the self. I have come to unapologetically embrace my circle obsession and enjoy integrating it’s symbolisms into my art.  The earth’s lithosphere, or outer crust, is a great circle image. Litho: meaning stone and sphere: translating to circle…what more could I ask? The perfect title for my circle series! 

Lithosphere Series No.3 was accepted in 3R's prestigious Prix Picassiette Exhibition in Chartres, France.

Please, explain the narrative of ‘A World Divided’.

This piece is very much tied into the Marcellus Series. It’s a much more abstract deep well image but viewed within the other geologic works, one can see the drill references.  I have been watching Pennsylvania communities splinter into taking sides for and against the idea of fracking and gas drilling in general. I often feel as if I am straddling a deep chasm, because I understand both sides. I see the direct improvement in our local economies; no small thing at this point in time. I also see the beautiful farmland I’ve grown up around being dotted with a new industry. So, I think A World Divided represents my small little corner of the world and its struggles to come to terms with its role in a crucial point in the history of Energy.

Rachel Sager, A World Divided.

Some of your works present an ‘abstract’ feeling, being at the same time representational. What is the role of abstraction in representing geological themes? 
One of my favourite parts of working with and manipulating natural stone is the freedom of expression that it gives me. I like to let each stone do what it was meant to do.  Any given rock will behave in a different way from its neighbour. The act of cutting in mosaic is a very important and sensitive stage of the process. Each stone cleaves in its own distinct style. Some cut squarishly; some cut in a beautifully irregular way. My point is that appreciating the beauty of the stone is in letting it have its personality and laying it into the mortar in a way that best lets that personality shine. As a mosaicist, I am very familiar with forcing any particular material into the shape that I want, but I have found there to be a freedom in giving the stone the lead and seeing where it takes me. As in geologic formations, where stone moves in flowing, directional layers, I find the abstract fields of pattern and movement to be almost meditative, both while building them and later as I appreciate the finished art.  I find that creating these fields of abstraction within a larger more representational image creates a pleasing movement for the eye. People who love mosaic understand, even if unconsciously, that there are many little separate worlds to be discovered and contemplated within a work of this kind.  

How do you reconcile the representational ‘Marcellus’ series with the more abstract ones?

There is so much going on in the field of gas drilling right now that I have my pick of themes, images, and concepts to bring it to life in my art. I sometimes feel bombarded by these flashes of images, and am only restricted by time as mosaic is a very slow art. As an example, the piece titled Frack represents the idea of what the shale might look like as it is fractured or fracked by the high powered water shooting down through the pipeline. I use actual Marcellus shale in this piece and I have found that people are fascinated by this very abstract image and come away with a better understanding of what the heck is going on down there 8000 feet below them.

Rachel Sager, Frack.

How important do you think it is for artists to know about Geology, and why?

Well, I think it’s very important! Any artist should be in a constant state of learning about the world around them. Art imitates nature, right? Especially for the mosaic artist, what lies under them should be of great interest because mosaic is so invested in materials and the earth’s product has been proven to be an excellent source of long-lasting, highly expressive material.  I am, of course, very passionate about the use of natural stone in mosaic. Over-machined and processed mosaic products hold very little interest for me and I believe, take some of the magic away from the artist’s relationship to her material.

What is your idea of ‘Geologic Art’?

I love that this is an almost unanswerable question. The book, Geology in Art, and Andrea Baucon’s blog have helped to open my eyes to the vast interpretations that an artist working in any medium can apply to the subject of geology. But, for my own personal needs, I would say that geologic art is my way of connecting to the earth under my feet while at the same time using that earth to express my visions and ask my questions.

What are your latest works about and where are you going with them?

This year I have come above ground and am creating a collection titled TerraIncognita, which translates into unknown land. In the series, I use map imagery to connect two mismatched groups of people; the explorers from The Age of Discovery and us as virtual, social networking, armchair explorers. Cartography, for me, complements geology as a science and an art.  I am delighting in the overlaps I’m discovering in the worlds I create above and below ground. In many ways, the pieces from The Geology Series are themselves, a kind of map art. As with all my work now, geology plays a starring role as the building blocks that make up the tiny worlds found in all mosaic.

Rachel Sager, Terra Incognita.

Ichnology on Google!

After Steno and his layers, Google celebrates another geoscientist through visual arts! In fact, today’s Doodle shows Mary Leakey excavating the Laetoli footprints, one of the landmarks of hominid ichnology.

 

Slices of Earth, Slices of Time

“Geological mapping involves more than just producing a colourful map to show the distribution of formations within a given area. The trained geologist is able to produce an interpretation of not only the surface rocks but also of their subsurface structure”

-         Lisle et al. (2011)

At the beginning of the 19^th century, English geologist William Smith realized the first geological map of Britain or, with Winchester’s (2001) words “the map that changed the world”. Different colours were used to mark different rock units and their surface distribution. As seen in the last post, geological maps are true distillations of experience and, consequently, they share a common ground with the artistic process. It is not a case that geological maps and geological mapping often appear within an artistic context.William Smith did not focus on surface geology only, but he produced two-dimensional slices of Britain’s subsurface structure: geological cross-sections. 

Geological cross-section by William Smith. Picture from the Oxford Digital Library. 

An artistic cross-section and the Birdsongs of the Mesozoic.

In parallel to geological maps, cross-sections often present a marked aesthetic appeal, as shown by the beautiful album cover of ‘Faultline’ by the Birdsongs of the Mesozoic. Similarly, geological cross-sections have been the subject for body art, as exemplified by the ‘cross-section tattoo’ portrayed in Zimmer and Roach (2011).

Still nowadays, cross-sections frequently complement geological maps in order to describe the three-dimensional structure of a given area, with the final aim of extrapolating the fourth dimension: time. Such fourth-dimensional nature is manifest in Laura Moriarty’s sculptural paintings, realized with layers of hot wax. With the artist’s words: “Referencing diagrams found in earth science textbooks, I study the way events and phenomena occur in the geological time scale, creating micro/macro records in paint of what I imagine happens below a terrain's surface”. The last sentence fits perfectly to the hand-coloured cross-sections made by Charles Darwin, who aimed to understand the subsurface geology of the Andes. In his Red Notebook, Darwin wrote “Geology of whole world will turn out simple”.

Geological cross-section as body art. Image from the Discover Magazine Blog.

'Subduction into Trench' by Laura Moriarty. From the artist's homepage.

Geological section sketched by Charles Darwin. Picture from the Cambridge University Library webpage.

Darwin's message is oxymorically conveyed by the colourful, abstract but concrete artworks of John ‘the Rock Doctor’ Jackson. With his geological hammer and a paintbrush, the artist explores both the surface and the subsurface of our planet. The result are forms and textures on canvas, true cognitive maps of the geological world. Although the depicted phenomena are complex, the Rock Doctor’s pictorial rendering makes them accessible either to the mind or the emotions. According to this viewpoint, Darwin’s optimistical thought sounds true.

'Gas Hunting' by John Jackson. The artwork is an artistic cross-section depicting a gas reservoir and its geological features.

   

'Window on the Worm' by John Jackson. Image from the Art and Soul Gallery.

John Jackson produces slices of Earth of various dimensions, from the scale of mountains to the minuteness of worm burrows. Indeed, in his ‘Window on the Worm’ the work of tiny organisms is manifested through their U-shaped burrows. In some cases, the effect of tiny burrowing organisms is so pervasive to modify entire ecosystems, severely affecting habitats and their inhabitants. This phenomenon, known as ecosystem engineering (Jones et al., 1994), can be seen in numerous human activities and poses important ethical questions. These points have been investigated by Jarod Charzewsky in his artwork ‘Scarp’, merging geological cross-sections and ecological awareness. I had the opportunity to explore this subject through a first-hand interview with Jarod Charzewsky himself.

In three sentences or less present yourself: Who are you and what you do?

I am an ambitious yet procrastinating surfer. Much like surfing, what I do is all about patience and timing. I wait for precisely the right moment and then I give it all I’ve got.

'Scarp' by Jarod Charzewsky. Image from the artist's webpage.

What inspired you to create "Scarp"?

The elementary school where I grew up in Winnipeg Canada had plenty of landfill sites, like most cities do. My high school was located on a landfill site. I use to imaging the layers of garbage beneath my feet. I thought what would it look like if I could cut away the earth to expose the wasted materials beneath my feet. I considered this idea as mankind reshaping our landscape with our discarded items. The idea stuck with me until now.

I love these renderings of a landfill. Its supposed to make sense of the chaos that is a landfill site.

Geology plays a huge role in this artwork. How would you describe its importance in your set?

I have spent a lot of time around Canada and North America and I have always felt an intuitive connection to the land. I spent time in the Alberta badlands where the geology of the region is abundantly exposed. These naturally formed layers made sense on the level of my landfill idea in fact this was the link I needed. I think most of us can identify with these stratified layers in one way or another. They are easy to be amazed with. The visual similarity is what makes my work accessible.

Particular from 'Scarp' by Jarod Charzewsky.

You used 5000 articles of clothing for realizing ‘Scarp’. Please give us some insight on your journey in making this artistic project.

At first I did not think the project was possible. I could not afford nor did I want to purchase all the materials for the piece so I quickly forgot about it.  Then in 2008, I got a residency at The Halsey Institute for Contemporary Art. This gave me two months inside a large gallery space – enough time to do what I wanted. If there ever was going to be a time to create the piece it was now.  I went to Goodwill Industries because I thought they might have the materials. I told them what I wanted to do and they understood it instantly and offered to loan me whatever I wanted. But only a loan. Everything would have to come back to Goodwill. I could not be happier with that arrangement. The last thing I wanted was to be stuck with all that clothing after the show came down.

 

Why did you choose clothes to realize ‘Scarp’?

This is a good question. When I went to Goodwill In 2008 I did not know what I was looking for. I knew I needed a lot of it and I was limited on how I could move the stuff around. Other things Goodwill had were ceramic plates and furniture. These were too heavy and fragile, but the clothing stood out right away. It was the most abundant material they had which meant they would be more eager to help with the project. Plus the colours and textures that I could acquire would make for a nice visual effect.

When a geologic section becomes art?

This is tough, when you think about it. You cannot just get some rocks and put it in some gallery and call it art. But it’s also easy. There is so much natural beauty in the world it doesn’t take much some times.

You realized many works focused on Nature. Which of these works do you consider ‘geologic’?

 Geology is in all of them I think. Some are more specifically about water flow and even more about what’s natural and what’s “simulated natural”. This is a paradox I exploit frequently. These terms are being exploited is our culture, usually to expand real estate or fossil fuel development. But I am not against growth but only to do it responsibly.

'The Geology of the New Earth' by Jarod Charzewsky.

Geology appears also in your ‘The Geology of the New Earth’. What media, what artistic metaphors have you used?

I like to use whatever I can find in the clothing. I did a piece in Calgary Alberta where I just happened to get 54 baseball hats. Or in Raleigh North Carolina I happened to find 238 men’s neckties. This is what helps link the work to the region where it’s installed. Somehow, and I am not use how, but those neckties are an indication of the societal condition of Raleigh NC. I like the thought of that.

You made vast use of technology in your ‘Tides’. What do tides look like through kinetic sculpture?

 I like to use the concept of tides as a metaphor for our changing landscape. It’s a poetic to think of the earth moving (naturally and unnaturally) with time like a tide. Currently, I live right on the Atlantic coast. Every time a storm comes through my favourite beach where I surf is different in its shape as the entire beach is moved or completely gone. It’s astonishing how fast it happens. Also the mining practice of mountain top removal. It’s amazing to think that there are companies that can and will move an entire mountain to extract the minerals within.

'Tides' a kinetic sculpture by Jarod Charzewski.

How important do you think it is for artist to know about geology, and why?

I can’t say it’s important for all artists in the same way that it’s not important for all artists to be familiar with the figure, but it can be helpful. To know where your materials come from and how they are made can be informative. I use a lot of plaster in the classes I teach. And I talk a lot about where gypsum comes from and how it’s turned into plaster. It informs what you make. The density of lumber in the past 10 years has reduced due to younger trees being harvested. This effects the strength and the weight of that you are building. We use plenty of iron ore and coke coal in our foundry at the College of Charleston. It helps to understand how expensive it all is if you know where it’s transported from. I guess it’s all about our natural resources and being aware of what it is that you use.

REFERENCES

Lisle, R.J., Brabham, P., Barnes, J. (2011). Basic Geological Mapping. Fifth Edition. John Wiley & Sons, Chichester

Jones, C.G., Lawton, J.H., Shachak, M. (1994). Organisms as ecosystem engineers. Oikos, 69: 373-386

Winchester, S. (2001). The Map That Changed the World: William Smith and the Birth of Modern Geology. Harper Collins, New York

Zimmer, C., Roach, M. (2011). Science ink: tattoos of the science obsessed. Sterling, New York

Distilled Experiences

 

In his website, the influent artist Richard Long says: “my intention was to make a new art which was also a new way of walking: walking as art […] These walks are recorded or described in my work in three ways: in maps, photographs or text works, using whichever form is the most appropriate for each different idea. All these forms feed the imagination, they are the distillation of experience”.

The words of Richard Long provide a link to geologists, ‘distillers of experience’ through the act of walking. Indeed walking is the mean by which geologists record and interpret the landscape, while distillations come in a wide variety of forms. Among the commonest distilled experiences, geological field notes often provide appealing visual material. In some cases, the distinction between science or art is not obvious, such for the layers sketched by Leonardo da Vinci and Giovanni Arduino. 

The Arno valley sketched by Leonardo da Vinci. Note the accuracy in drawing sedimentary layers.

 

Geological section realized by Giovanni Arduino in 1758.

Nevertheless, geological maps are probably the most emblematic forms through which geologists distil their field experience. Geological maps show the spatial distribution of geological units with different colours, therefore they are usually rich in structure and patterns. It is not a case that they are often part of vibrant works of art.

For instance, Nien Schwarz used geologic maps in various artistic contexts. She used 55 grocery bags made from geologic maps (‘From Legend to the Market’), tectonic maps (‘Groundwork: an illustrated poem’), and hand-coloured geologic maps (‘Transpose’). With the words of the artist (Baucon, 2009): “Transpose is a recent painting with map collage. It is constituted by hand coloured  geologic  maps  1:67000  of  the Northern  Territory  in  Australia  dating from  the  1960s.  The  paint  is  made  with pure earth colours (no mixing of colours) –  pigments  and  rocks  I  have  collected over  the  years.  I  grinded  and  sieved  the rocks  and  matched  the  colours  in  the geologic map. This  painting  is  2040  high  by  1240 wide  and  70  mm  deep.  It  is  made  on  2 house  doors  covered  in  canvas  –  doors as  the  the  literal  and  symbolic  threshold between inside and outside – the divider between  nature  and  culture,  and  desire and need.”

Nien Schwarz used 55 grocery bags made from geological maps for realizing her 'From Legend to Market'. Picture from nienschwarz.com

Another excellent example is the art of Chris Drury, who created various artworks by weaving geological maps and topographical ones. 

Particular of 'On the Ground, above and below Wyoming' by Chris Drury. Picture from the artist's website.

Detail of the 'Geologist Series' by Perdita Phillips. Image from the artist's website.

 The mentioned examples show clearly how artworks and geological maps are both distillation of experience in the field. At this regard, Perdita Phillips artistically described the act of geological mapping in her ‘Geologist Series’. She accompanied a field geologist in the Kimberly region (Australia) and recorded the  everyday tools and practices of art and science. The artist was  interested  “in  the similarities  and  differences  between artists  who  walked  in  the  field  (i.e. walking  as  an  art  medium)  and scientists who performed fieldwork” (Baucon, 2009).

Intriguingly, this concept reconciles with the words (and the art) of Richard Long. According to the principle of the ‘distillation of experience’, art and geology are languages for describing the world. When I interviewed Perdita Phillips on the subject, she gave an illuminating answer: “Imagine two outstretched hands flat out in front of you that rub up against each other. This is how I see art and science in  the  field:  their  practices  are  parallel and  sympathetic  and  ultimately  both aim to explain the world around them – the difference is in how the observer is situated in the self-same world”.

Du Noyer is among the authors of this geological map. Detail from IHM.

This interpretation is supported by the work of a 19^th century geological celebrity: Georges Victor Du Noyer. Field geologist and artist, Du Noyer surveyed vast areas of Ireland and produced accurate geological maps. At the same time, he described his study areas through delicate watercolours, illustrating the beauty of many geological structures. It is manifest that Du Noyer’s geological maps and artworks are the distillation of the same experiences: geology and art are connected by a vibrant line of continuity.

Watercolor by Georges Victor Du Noyer depicting folds in the Old Red Sandstone. The outcrop is located near Mallow, in the same area of the geologic map above. Image from the GSI website.

  

REFERENCES


Baucon A., 2009. Geology in Art. An Unorthodox Path from Visual Arts to Music. tracemaker.com, 120 pages

Patterns, Geology and Art: the Invisible Landscapes of Enrico Serpagli

“Geology is a science of connection to our real environment, informed by the action of signs, a geosemiosis, that leads investigators on a fruitful course of hypothesis generation”

- Victor Baker (1999)

Keeping with Baker (1999), geological reasoning is inextricably tied to the objects of investigation. However, earth scientists are not only interested in geological objects, but in their spatial and temporal distribution too. For this reason, pattern finding is of vital importance for geologists. In fact, from the scale of the Benioff zone to the minute details of microfossils, regularities are crucial for interpreting geological processes.

Not surprisingly, geological eyes are particularly sensitive to patterns, as beautifully expressed by the art of Enrico Serpagli. Among the most influential Italian paleontologists, Enrico Serpagli is also a specialist in finding aesthetic patterns within natural and artificial objects.It is not a case that one of his exhibits was entitled “Il Senso dell’Ordine” (“The Sense of Order”), including astonishing patterns of colour and shape.

Patterns in the art of Enrico Serpagli. Photo from valtaro.it

 However, the detailed photographs of the artist are not mere recordings, but true visions of the invisible. This concept is expressed in his new exhibit, “Paesaggi Invisibili” (“Invisible Landscapes”), set in the historical town of Sassuolo (31 March – 22 April 2012; Paggeria Arte, Piazzale della Rosa, Palazzo Ducale, Sassuolo, Italy). Although the exhibit is not specifically devoted to geological themes, a geological ‘invisible landscape’ from Yellowstone is among the exhibited artworks.

From an analytical point of view, ‘Invisible Landscapes’ offers the amazing possibility of seeing the role of patterns for the geological artist. However, I prefer to be more emotional, and the exhibit is a structured walk through the invisible lands of Enrico Serpagli, the master of artistic patterns.

Invisible landscapes: geological processes photographed by Enrico Serpagli at Yellowstone.

REFERENCES

Baker, V. (1999). Geosemiosis. GSA Bulletin, 111(5)

Google meets Geoart!

Happy birdthday Nicolaus! 

On occasion of his 374th birthday, Google devoted today's doodle to the pioneer of stratigraphy: Nicolaus Steno. The design is essential but elegant, and clearly refers to the law of superposition. Indeed Nicolaus Steno pioneered the idea that sedimentary layers are deposited in a time sequence, with the oldest at the bottom and the youngest at the top.

Today's doodle, devoted to NSteno

Steno's doodle is very artistic, but Steno himself used the visual language to express geological knowledge.

Geological history of Tuscany, according to Nicolaus Steno. Image from Earth Observatory.

Infact, Steno's works are often accompanied by visual material, fundamental for communicating his geological theories. There are no better words than those of Rudwick (1976) to comment this phenomenon: "the development of a distinctive visual language was a striking feature of the emergence of geology as a new science, and it has continued to be a prominent feature of the discoursse of geologists ever since".

In the formative years of geology, fossil shark teeth were named glossopetrae, or tongue-stones, and believed to have magical properties. Steno visually compared fossil teeth to recent ones, from the head of a modern shark.

REFERENCES
Rudwick, M. (1976). The emergence of a visual language for geological science.Hist. Sci., xiv: 149-195

Paleoartistic Highlights on the Web

“The science of paleontology has always been inextricably tied to art.”
- Davidson (2008)

In 1995 Michael Brett-Surman, dinosaur collection manager of the Smithsonian, checked for damage after a pipe burst in the ceiling and discovered 1200 palaeontological illustrations on top of a specimen storage cabinet. After this manifestation of serendipity, the museum began to provide archival care for palaeontological illustration.

The PaleoArt website describes various artistic techniques.

The paleoartistic efforts of the Smithsonian are expressed through a comprehensive website: PaleoArt - Highlights from the Department of Paleobiology. The website is divided in three sections, each of which is presenting different aspects of paleoart with numerous practical examples. The first section is organized around the historical collection of the museum, including a Triceratops by Charles Knight and numerous illustrations prepared under the supervision of the famous 19th century paleontologist Othinel Charles Marsh.

 The second section is devoted to paper conservation, applied to the paleoartistic treasure of the Smithsonian. The last section deals with the creative techniques for palaeontological illustration. From graphite pencil to digital illustration, this section is very rich in content and gives the idea of the tremendous amount of work and knowledge for producing palaeontological illustration.
In conclusion, “PaleoArt - Highlights from the Department of Paleobiology” gives a very vivid impression of palaeontological illustration, its evolution, techniques and conservation. Definitely a must-click for the art and palaeontology enthusiast!

The Smithsonian collection includes a wonderful painting by Charles Knight, comprehensively described in the website.

REFERENCES

Davidson, J., 2008. A History of Paleontology Illustration. Indiana University Press, 2008
217 pp.

See also:
Switek, Brian, 2009. [Review of A History of Paleontology Illustration]. Palaeontologia Electronica Vol. 12, Issue 1, R3; 2pp.; http://palaeo-electronica.org/2009_1/index.html

A Wax Kaleidoscope for the Carboniferous

More than 300 million of years ago, during the Carboniferous period, humongous insects and gigantic amphibians populated vast, swampy forests. These inextricable habitats originated vast deposits of coal – from which the name Carboniferous – and, in much more recent times, they inspired the creativity of artists.

Among the artworks inspired by this geologic period, the wax habitats of Kenneth Parsons are some of the most awe-inspiring creations. Abstract but representational at the same time, these environments take the visitor into the intricate atmospheres of the Carboniferous period. Wax is the vehicle of chronological exploration and kaleidoscopic patterns are its language. In fact, the artist created a geologic narrative entirely sculpted in wax, and experimented with illumination to obtain a totally immersive experience.

More in detail, there are two Carboniferous forests - one is a wall in 'The Wax Room' which was exhibited at the Edinburgh Festival and Wolverhampton Art Gallery and one is a geodesic dome which was specially commissioned and exhibited, as part of a tour called 'Forest' at York, Nottingham and Newtown Art Galleries. The exhibition spaces were covered by thin sheets of wax, permeable to light, designed in 30 years of work.

I interviewed Ken Parsons about his peculiar and inspiring form of art.

At what age did you become an artist, and how did you know?

Made and painted a large box when I was 15 but I suppose it all started when I was about 8. My mother had to work so left me alone when I was off school with asthma. We had some very old lead toy cars. I would light a fire in the grate put the cars on a shovel and watch them melt into a beautiful silver puddle – then I would pour the molten lead into a glass of cold water and hey presto – lots of lovely shiny abstract shapes.

Wax sculpture is a very peculiar form of art. What career path did you take to get to where you are now?

Studied for a degree in Geography at Exeter University, dropped out and taught myself.

What inspired you to create the Wax Room? What were your goals?

Love stained glass windows – a room made of stained glass/wax seemed like something I would really love to see…

Why have you chosen a Carboniferous Forest?

Mandala type designs can easily be interpreted as trees and the wax comes from the Carboniferous era so hey!

Particular of the Carboniferous Forest.

Please give us some insight on your journey in making this artistic project.

Long hours (3000) tricky problems to solve, 2 good fellow workers, scraping up money to pay for it.

Carboniferous forests are not the only geologic element inside the Wax Room. What is the role of volcanoes and lava in your artwork?

They are part of the narrative from the big bang to the formation of the earth.

Sculpture, sound, vision... Please explain the narrative of the Wax Room.

3 narratives – one a philosophic concept of splitting and bringing together, another a geography lesson for kids and another about the creation of the Wax Room

The Wax Room. Picture from its official website.

Wax and Carboniferous Forests are the axis of your “Wax Room” and “Wax Dome”. What is the (emotional) role of these elements in your artistic creativity?

Very forgiving and plastic material, love gardening and nature.

The Wax Dome: What media, what artistic metaphors have you used?

Time in a day and stretching through countless days.

What is the concept behind the Wax Dome?

Rebirth of the dead material in wax to glow again with the light of the sun that created it.

A review of the Wax Dome, from the official website.

The Wax Dome as an experience: is it a progression or a static experience?

Progression through a day in the Carboniferous era using different lighting.

Do you think your work reflects a specific fractal look?

Mandalas are a favourite Jungian motif and his concept of the collective unconscious is reflected in the connectivity in fractal patterns in say leaves and deltas, ammonite shells and galaxies.

How important do you think it is for artists to know about geology?

Just as important as any knowledge

What projects are you working on now, and what do you have in line for the future?

Lampshades and trying to find homes for the Wax Room and the Wax Dome.