Background to the project:

"I arrived at the RCA as a ceramicist. I had spent the previous 2 years turning solid lumps of clay into white liquid ‘slip’. I didn’t realise at the time it was the solidity of the clay I didn't like. I painted the white slip in thin layers onto cardboard boxes and fired them, almost expecting them not to survive. Sometimes they did, but not for long. If a photograph was clay, they would be clay photographs. The RCA had a hot glass furnace and I rejected the clay altogether. It wasn’t the finished glass objects that drew me in, but the overlooked journey to get to the object; the heat, the colour, the fluidity and the performance and decisions of the makers.

What interested me most about my Antarctic residency was the space between the environment and the people living in it. It was difficult to exist on a mental and physical level, and I made work that reflected that. Antarctica intensified my awareness of mark making, and made me reject the notion of 'making objects' even more than before. When I returned home I created a project that was based on film and photography, but I needed to use a light that was less ‘solid’, I wanted the very source of my images to be more precarious, less controllable.

Working with microbiologist Simon Park and Caterina Albano, I used bacterial bioluminescence, a living organism, to create a series of photographs, film and installations. The bacteria died over the course of my portraits, it became even harder to capture the photographs of naked skin, and that is how I wanted it to be. They nearly don’t exist."

This project is called 'Exploring the Invisible' it has been made possible by the support of the Wellcome Trust and is one of the projects included in ‘Bio Design – Nature, Science, Creativity’, Edited and text by William Myers. foreword by Paola Antonelli, The Museum of Modern Art, New York. Published by Thames and Hudson.

Gold Teacup

May 8, 2009

'Gold teacup' Simon Park and Anne Brodie

Spoons and teacups, items of delivery to the internal body cavity yet always absent from the laboratory.

Richard Fortney

April 21, 2009

“A life accumulates a collection of people, work and perplexities. We are all our own curators.” Richard Fortney, Dry Store Room No.1

Box 7, Old Operating Theatre, London

April 17, 2009

The photographs below were all created using a bacterial light source. They are part of the medical contents of ‘Box7’, a box kept out of sight containing objects deemed unsuitable for showing or handling at the Old Operating Theatre in London.

Part of St Thomas Hospital, built in the roof space of St Thomas Church around 1822, the Operating Theatre was originally used to operate on the women patients from Dorcas ward. The majority of cases were for amputations or superficial complaints as, without antiseptic conditions, bacterial infections ruled out internal operations.

With thanks to Karen Howell, the Curator.