Post 3: Bio Art


Bio art is an art practice that falls under media art due to the mediums used to create it. The practice uses new technology such as scientific processes, genetic engineering, and tissue culture and cloning. Bio artist work with live tissue, bacteria, living organisms and life processes. It links art, science, medicine and technology together by investigating the environment where humans are evolving in response to the fast growth of biotechnology. This is shown in Orlan’s and Suzanne Anker’s works.

Orlan has used biotechnology through out the years in her artwork. She believes that her face and body is a canvas and applies cosmetic surgery to transform it. She highlights how the strong influence of technology is able to transform our physical appearance. In her piece “ The reincarnatiom of saint- Orlan” which started in the 1990’s she uses the surgeries to change her face to the feminine ideal depicted by male artist. The surgery was filmed and broadcasted throughout the world. When her surgeries are complete she’ll have the chin of Botticelli’s Venus, the nose of Jean-Léon Gérôme’s Psyche, the lips of François Boucher’s Europa, the eyes of Diana and the forehead of Leonardo da Vinci’s Mona Lisa. She picked them “not for the cananons of beauty they represent…rather ton account of the stories associated with them”. The surgeries that are conducted is also a performance. Everyone in the room wears a costume and orlan uses props like a devils pitchfork.

Suzanne Anker combines art and science together through her concepts and mediums. It ranges from digital sculpture, installation, photography to plants grown using LED lights. She has her own bioArt lab in New York where she examines objects that have become icons of biology like chromosomes, MRI scans and Petri dishes. In her work “Vanitas in a Petri Dish” (2013) she pairs natural objects decaying and a petri dish as a 3d canvas. The purpose is to remind her audience of their own mortality and the cycle of life through the decaying objects. The work sparks the curiosity and diversity of new hybrid life forms scientist today are making with the petri dish.

The two works both involve biotechnology, which are a new media medium and the exploration of living organisms or tissue.


Artiste transmédia et féministe. Météorite narratif du BIO ART. Son oeuvre questionne le statut du CORPS dans la société. Ses sculptures, HYBRIDATIONS et autoportraits réinterprètent le rôle des nouvelles technologies.. (2016). Retrieved 28 October 2016, from


Bio Art | SVA Bio Art Lab, BFA Fine Arts – New York City. (2016). Retrieved 28 October 2016, from


Faces of Bioart: Bio-Icons with Suzanne Anker. (2016). Retrieved 28 October 2016, from


 Orlan’s art of sex and surgery. (2016). the Guardian. Retrieved 28 October 2016, from



Post 2: Interactive Art

Interactive art involves the audience response through action or being immersed in the work. It emerged in the late 1950’s due to artists’ needs to find less exclusive to the viewer therefore showing their art in inclusive environments like the street, warehouse or shop front. These works now generally involve feature computers, interfaces, sensors or other programs that are use to respond to. They rely on the audience’s involvement to determine their outcome unlike traditional art where the audience involvement is a psychological activity. Two artists that make interactive art are Aaron Sherwood and Kurt Perschke.

Aaron Sherwood collaborated with Mike Allison to create a interactive media installation called “firewall” (2012). It’s made from spandex and programs Max/MSP, Ardino and a kinect. The spandex is stretched and is sensitive to the audiences touch. Once someone pushes it creates fire visuals and plays music. Max allows the music to react to the depth of the touch. The artwork does nothing if it is not interacted with. This concept was inspired by a performance with dancers called “mizalu”. The dancers put pressure on the spandex with the audience facing the other direction. It’s a metaphor for death and experience of reality. The membrane (spandex) represents a plane that you can experience but never break through and fully understand life and death.

Kurt Perschke created an travelling street art work called the “RedBall project” (2007-2014). The project contains a 4.5 m inflated red ball stuck in between two city spaces around the world. Persschke uses the fun nature of the ball to spark the imagination in his audience. . Perschke states “ In the end, art is about people, and I look forward to seeing how each city responds to the invitations Redball offers”. He believes that the true power isn’t in the object, the ball but in the participants experience in what they can create using it. The work has an interactive piece to it due to the scale, presence and tactile aspects. It creates an inviting nature in these cities and the public involvement makes the story of a city.

It’s evident in each of these interactive artworks it is crucial for the audiences response.


Aaron Sherwood-Blog. (2016). Retrieved 28 October 2016, from


FAQ – RedBall Project. (2016). RedBall Project. Retrieved 28 October 2016, from


Interactive art. (2016). Retrieved 28 October 2016, from


 RedBall Project Takes Interactive Urban Art on Tour. (2016). WebUrbanist. Retrieved 28 October 2016, from

Blog post 1: Virtual/Mixed realities

Virtual/ mixed reality art is developed with technical media, which was made at the end of the 1980’s. These human interfaces aim to enhance the audiences experience through its multi-sensory nature. This can also include the combination of the real world and virtual world combining augmented reality and augmented virtuality. Artist’s Kenneth Rinaldo and Tamiko Thiel explore this theme in their artworks.

Kenneth Rinaldo’s “augmented fish reality” (2004) uses the mediums robotics and virtual/mix realities to explore the interspecies and Tran species communication. The Siamese fish are paired with an augmented environment in 5 robotic fish bowls. The fish use their intelligent hardware and software to manoeuvre their fish bowls anywhere they wish. Through the movement they interact with their environment and other fish. The design has infrared sensors, which is activated by the fish swimming in front of it. The audience is also able to interact with the piece by entering the environment and the Siamese fish moving around them. A small video camera is also mounted under two of the bowls, which image the inside of the fish bowl as well as the environment the humans are in. The images are then captured with transceivers and projected onto the walls to immerse the audience as if they were in the tank.

Tomiko Thiel uses augmented reality in her installation “Gardens of the Anthropocene” (2016) to reveal how Seattle’s ecosystem changes under climate change. This installation depicts a utopian future of native aquatic and terrestrial plants that have mutated to manage with the increasing damages of climate change. In this augmented reality the fauna feeds off electromagnetic radiation. This is through extracting nutrients from the ground to feed off man-made structures. The plants adapt to their environment, which then breaches the natural boundaries of photosynthesizes of visible light to feeding of man made devices.

These artists use the virtual/mixed realties to immerse their audience in the environment they have designed.


Augmented Fish Reality | Ken Rinaldo. (2016). Retrieved 27 October 2016, from


AUGMENTED FISH REALITY BY KENNETH E. RINALDO – ADA | Archive of Digital Art. (2016). Retrieved 27 October 2016, from


Thiel, T. (2016). “Gardens of the Anthropocene” augmented reality public art installation, Seattle Art Museum Olympic Sculpture Park Retrieved 27 October 2016, from