disease

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Art Science

‘Glass Microbiology’ Magnifies Viruses, Bacteria, and Other Organisms to 1 Million Times Their Actual Size

Bristol-based artist Luke Jerram (previously) continues to add delicate specimens to his Glass Microbiology collection. The ongoing project is a collaboration with scientists at the University of Bristol, who aid Jerram in scaling three-dimensional renderings of avian flu, papillomavirus, the AstraZeneca COVID-19 vaccine, and other tiny organisms into sculptures approximately one million times their actual size. Transparent and impeccably detailed, the models are designed to showcase the structures of each microbe without distorting the viewer’s perception with non-existent colors, which are often used to distinguish various parts in illustrated renderings.

Jerram documents the process behind his swine flu sculpture in the video below, which begins with two artists hand-blowing the larger structure. The team then shapes hundreds of individual proteins that will later be fused to the virus’s exterior. Find more of the scientifically minded project on the Glass Microbiology site, and follow Jerram’s latest works on Instagram.

 

Art Craft

Beaded Images of Disease Explore the Impact of Colonial Trade

In her series Trading, Saskatchewan-based artist Ruth Cuthand creates a visual metaphor that outlines how early settler/Native relationships influenced First Nation people’s living conditions and wellbeing in Canada. The colorful works are created from beads which were traded by European settlers for furs in the Americas. Although dazzling aesthetically, the work’s content reveals images of deadly viruses passed on by settlers as a result of this trade, such as influenza, bubonic plague, measles, smallpox, typhus, cholera, and scarlet fever.

“Beads are a visual reference to colonization; valuable furs were traded for inexpensive beads,” explains Cuthand, an artist of Plains Cree and Scottish descent, in her statement about the project. “On the plains beads were a valuable trade item, they replaced the method of using porcupine quills. Preparing the quills for decorating clothing was a long process that consisted of sorting the quills, preparing vegetal dyes and flattening the quill to sew down in patterns. Obviously beads were quicker to use, covered large areas and came in a wide variety of colors.”

Trading explores the tragic impact of European disease through the lens of one import. You can see all of the works in the series, and learn more about Cuthand’s practice, by visiting her website. The artist will also be a part of Beading Now!, a group exhibition at La Guilde in Montreal, Canada, which runs from May 16 to July 21, 2019.