Biomimetics, Color and the Arts

F M Schenk

This research is located at the intersection of fine art and scientific developments in optical nanomaterials. Schenk’s work explores the application of the science of mimesis and bio-optics in contemporary painting. Using biomimetic methodologies and iridescent substances, she has innovated 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, e.g. 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 her to capture the process of oscillation between permanence and the 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, etc.) 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, e.g. invited papers, together with 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. Schenk’s artwork is on the cover.

NOTE FOR USERS

This exposition features a collection of works that does not have a fixed starting point. Feel free to scroll around, explore the various media and click on images with arrows for more information.

Abstract/more information at:

http://xlink.rsc.org/?DOI=D0FD00036A

The supporting theoretical research aims to contextualize the advances of “smart” technology within the art historical and contemporary contexts of ‘naturalistic’ representation, mimesis and simulation, while also positioning this within the current emergence of similar biomimetic strategies within science.

exhibition and artworks portfolio

FARADAY DISCUSSIONS (2020)

F. Schenk and D.G. Stavenga, “The Lesser Purple Emperor butterfly: From Mimesis to Biomimetics”. Faraday Discuss., 223, 145-160, 2020

* Conference paper

* Refereed journal article

* Artwork on the cover

* Solo exhibition at Hive Gallery,Birmingham,UK

Solo-exhibition at THE HIVE, 2020

MAX PLANCK INSTITUTE (2019)

From Mimesis to Biomimetics: towards "smarter" art.

* Conference paper

* Exhibition at the conference

* Group exhibition at Highbury Hall,Birmingham,UK

HIGHBURY HALL (2019)

exhibition

presentation

Taking inspiration from nature, and notably the chameleonesque, the aim of this cluster of inter-related practice-based research projects has been to introduce, via novel colour-shift, ‘the dynamic’ into painting – historically a decidedly static medium. In doing so, capturing on canvas the process of oscillation between the permanent and the ephemeral, the recognizable and the obscure, revelation and camouflage.

FRANZISKA SCHENK

BIOMIMETICS, COLOUR AND

THE ARTS

5-minute synopsis of the published paper as presented and debated at Faraday Discussion (2020)

Click on the image to start the video.

Both for scientists and artists there remains much to be garnered from nature’s ingenuity. And with the promise of new horizons heralded by the arrival of “smart” technology (which in fact copies primaeval natural nano-structures), it may well turn out that there is still life in the “antiquated” medium of painting.

PROCESS

from lab to canvas

Developing THE PURPLE EMPEROR painting (2017-2020)

small paintings examples (2015-2017)

A short video synopsis detailing the development and application of novel colour shift technology for painting.

Click on the image to start the video.

The International Society for Optics and Photonics [SPIE] San Diego (2015)

F. Schenk, “Biomimetics, Color and the Arts”, Proc. SPIE 9429, Bioinspiration, Biomimetics, and Bioreplication, 2015.

* Published conference paper

* Exhibition at the conference

* Featured work at Fribourg Museum

* selection of examples of artworks

Located at the interface of art and science, and deploying discursive, transdisciplinary methodologies, the research links fine art practice with evolutionary bioscience and optical physics - the trajectory being to catapult the ancient medium of painting into the nanoage.

presentation

Click image for studio shots

Click on the image for full paper

Abstract and more information at:

https://doi.org/10.1117/12.2084302

Fribourg Museum

(2018 - 2019)

Tip

Tip