Biomimetics, Color and the Arts
- Submitting institution
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Birmingham City University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 32Z_OP_T1004
- Type
- T - Other
- DOI
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- Location
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- Brief description of type
- A collection of work presented as conference paper, exhibition and journal article
- Open access status
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- Month
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- Year
- 2015
- URL
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https://www.researchcatalogue.net/view/972064/972065
- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This research is located at the intersection of fine art and scientific developments in optical nanomaterials and explores the application of the science of mimesis and bio-optics in contemporary painting. Using biomimetic methodologies and iridescent substances, the researcher has developed innovative studio-based techniques to create image viewing experiences until now only seen in nature.
Experimentation led to new processes informed by extensive investigation into the physics of natural phenomena, such as the dazzling iridescent colouration of certain insects and birds. Taking inspiration from these unique phenomena, the researcher introduces optical dynamism into painting, via the novel exploitation of iridescent pigment, allowing the capture of the process of oscillation between permanence and ephemeral, the recognizable and the obscure. The characteristics of the nanomaterials deployed demanded the development of particular processes for achieving target affects. These involved blending conventional studio practices (pigment mixing, under-painting, glaze application) with new approaches devised for handling these challenging special media. Applying these new approaches enables colour shifting visual effects, previously unobtainable with conventional studio pigments, offering the means to catapult painting into the nano-age.
Complementing the scientifically informed and laboratory-based dimensions of the work, these transformative methods have been advanced through their application in the researcher’s own artistic practice: a series of paintings deploying these methods have been exhibited.
The underpinning science and novel application process developed to adopt nanomaterials in painting have been disseminated through conference presentations and refereed journals. In addition selected artworks, were presented at SPIE, San Diego (‘Biomimetics, Colour and the Arts’, 2015) and the Max Planck Institute, Dresden (‘Towards Smarter Art’, 2019). Also see the article with Prof. Stavenga, University of Groningen, published by Faraday Discussion Journal (2020) and debated at the Royal Society of Chemistry’s international Faraday Discussion, which uses researcher’s artwork is on the cover.
- Author contribution statement
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- Non-English
- No
- English abstract
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