Image 1: Workshop participant drawing while observing with a microscope, Campbelltown Arts Centre, 2019. Photo Erica Seccombe.
Read MoreACUADS Awards: Dr Erica Seccombe
In 2019, ACUADS awarded five awards in the following categories: Innovative Teaching, Innovative Research and Lifelong Fellowship. Awardees were announced on 31 October 2019 at the Margaret Lawrence Gallery, as part of the 2019 ACUADS Conference held in Melbourne, Australia.
Innovative Research Award — Dr Erica Seccombe, ANU
Dr Erica Seccombe has contributed ground-breaking research in the field of visual art and interdisciplinary art/science. As a visual artist, initially a ‘printmaker’ in practice, she is a pioneer in the field of 3D and 4D micro-X-ray computer tomography (Micro-CT). Her research is uniquely placed between the ANU School of Art & Design and the Department of Applied Mathematics. Erica’s PhD GROW: experiencing Nature in the Fifth Dimension (2017) investigated time-resolved (4D) Micro-CT through immersive stereoscopic digital projection installations and 3D printing. Projecting the resulting time-lapse data stereoscopically in cinematic 3D, her final work Out of Season creates a translucent and mesmerising experience as the ‘virtual’ seeds come to life. Since 2013 she has been collaborating with scientists at the Natural History Museum in London to visualise key objects in their collection. Her time resolved work Metamorphosis (2016-18) won the prestigious Waterhouse Natural Science Art Prize at the South Australian Museum and has also been recently selected for the 2019 International Lumens prize. The new knowledge her research has generated has had a far-reaching impact in the sciences as her research pushes the boundaries of interdisciplinary thinking, particularly in biology. She has shared her knowledge by training numerous honours, HDR students and post-doctoral researchers from medicine, physics, palaeontology, biology, forensics and geology and the visual arts.
Boundless Objects Opens in Evora, Portugal →
October 12, 2019 to March 29, 2020
Curator: Monika Bakke
The Eugénio de Almeida Foundation Center for Art and Culture
Tuesday to Sunday from 10am to 6pm
Free admission on Sunday and on the days of activities parallel to the exhibitions.
With works of:
Ana Leonor Madeira Rodrigues, Ana Rewakowicz, André Sier,
Erica Seccombe, Izabella Gustowska, Jennifer Robertson, Kathy High, Marek Wasilewski, Marta de Menezes, Nikolaus Gansterer, Piotr Bosacki and Renata Rosado.
The phenomenon of the multiplicity of objects is among our most common experiences. However, objects seen as flows of matter and energy become limitless, as unlimited manifestations of various forces, allowing for the most singular results. Indeed, while objects are everywhere - emerging and disintegrating at different speeds - their complex networks and endless tangles are not easy to follow. So the question is not really what they are, but their becoming. Objects - living & non-living, real & virtual - are never complete, stable and inert; they arise only in complex relationships and always within specific human and non-human contexts. They have no predetermined identities, but they transform and transmute, quickly become others just like us…. see more
Plant + Human at ACP
Erica Seccombe manipulates age-old ‘intaglio’ technique to conjure flowers on paper
By Lucia Moon
Published March 18, 2019
Erica Seccombe’s photogravure series ‘Permutations’ (2018) is currently on display at the ACP Project Space Gallery in Darlinghurst, as part of the exhibition ‘Plant + Human’. Read here
Erica wins Waterhouse Natural Science Art Prize 2018
GALLERY: Erica Seccombe wins Waterhouse Natural Science Art Prize
JUNE 7, 2018 by JOHN DEXTER The Adelaide Review
Metamorphosis, a video work depicting a maggot pupating into a fly from Canberra artist Erica Seccombe, has taken out the open category of the Waterhouse Natural Science Art Prize, while fellow Canberran Hayley Lander won the emerging artist category with her painting, The great forgetting.
Judges were impressed by Seccombe’s work for its depiction of an “ordinarily unseen intersection between science and art”, while they found Lander’s painting to be an “affecting and poignant study in natural history”.
The pieces by the two winners were selected from works by 84 exhibiting finalists, which will be on display at the South Australian Museum from Friday, June 8 until Sunday, August 5. Visitors to the museum will also be able to vote for their favourite work in the People’s Choice Dr Wendy Wickes Memoriam Prize of $5000, while a Scientists’ Choice Award of $5000 will also be awarded as part of the now biennial exhibition and prize.
View a selection of the 2018 Waterhouse Natural Science Art Prize entries in the gallery above.
Waterhouse Natural Science Art Prize
South Australian Museum
Friday, June 8 until Sunday, August 5
waterhouse.samuseum.sa.gov.au
Erica Seccombe, Metamorphosis, 2016, (detail) active stereoscopic projection installation, processed for single channel viewing.
Pupa development at 15 degrees Celsius. 9 datasets from 10% to 100% growth 3D Micro CT.
Imaging and Analysis Centre (IAC), NHM, London,
Visualised and animated in Drishti by Erica Seccombe
A View from the Arboretum
Check out the latest issue of Art + Australia for Erica's essay 'A view from the Arboretum'
- Seccombe, E., 'A view from the Arboretum', Art + Australia, Issue Three (54.2): Unnaturalism, Editor Edward Colless, Melbourne University, 2018, p 78-81.
Extract:
Lately I have been looking through a high-end virtual reality (VR) headset, exploring a mutable and volatile planet. This is not any fully rendered, illusionary game world; instead, I’ve been immersed in an innovative scientific tool called EcoVR, being developed by Dr Tim Brown and his colleagues at the Australian National University (ANU).2 Tim Brown is director of the ANU node of the Australian Plant Phenomics Facility and a research fellow with the Centre of Excellence in Plant Energy Biology. Phenomics is the study of physical, existential characteristics of an organism, distinct from that organism’s inherited and heritable genetic identity, or genome. Bringing VR into this field of research, Tim Brown is also something of a technology wrangler and futurist.
Read more at http://www.artandaustralia.com/
Selected Finalist, 40th Alice Art Prize, Araluen Art Centre, 2018
Pleased to announce that my work Christmas beetle has been selected for the 40th Alice Prize, 2018! Exhibition at the Araluen Art Centre until June 17.
Erica Seccombe, Christmas Beetle, 123 x 110 cm, inkjet print on Mirrored composite board.
Residency at Baldessin Press + Studio 2018
Research Residency at Baldessin Press + Studio
In 2017 Erica applied for and was awarded a small project fund of $3300 by artsACT to learn the photopolymer photogravure technique at Baldessin Press & Studio. This gave her the opportunity to stay at the Studio in St Andrews, Victoria for 7 days in January 2018. This experience included 3 days one-on-one tuition with artist Silvi Glattauer. For more information https://www.ericaseccombe.com/research-projects/#/research-residency-baldessin-press-studio/
Erica at Baldessin Press with work in progress, 2018. Photo Silvi Glattauer
BACKYARDS opens at MAY SPACE SYDNEY →
Backyards @ Mayspace Sydney, until 7 October 2017
Curated by Waratah Lahy & Anne-Marie Jean
Anne-Marie Jean, Waratah Lahy, Leo Robba, Erica Seccombe, Lia Tajcnar, Jennifer Taylor, Ruth Waller.
The idea of a big backyard has long been considered an essential element of Australian iconic culture, synonymous with the fading aspirational ideal of a quarter acre block and a modest home. Our backyards are important spaces: mostly private, they can be practical, useful and fanciful, providing a space for imagination, creativity, toys, pets, projects and failed ambitions. ...
Exhibition Review: Art Guide, Jane O'Sullivan →
Erica Seccombe takes up the issue of reproducibility. in her large anaglyphic print of a toy octopus, Ocularanagluphos, from 2012. This little toy, writ large, asks us to consider how we visualise and engage with our natural world. It looks sharply sci-fi until you put on the flimsy 3D glasses. The blue and red cello lenses smudge the detail, and give little in the way of extra dimension. But what they do instead is peel the blurry sea monster off the wall, hovering it in space and untethering it from any reality....
Fellow exhibiting artists Tony Curran and Michael Kempson enjoying the optical illusion of my work Ocularanagluphos in Aura: Repetition, Reproduction, and the Mark of the Artist
Aura opened in Manly on Friday night!
Fellow exhibiting artists Tony Curran and Michael Kempson enjoying the optical illusion of my work Ocularanagluphos in Aura: Repetition, Reproduction, and the Mark of the Artist
Read MoreThe Lady Botanist, Imprint Magazine →
Patsy Payne reflects on the work of Erica Seccombe, whose exhibition of screenprints and etchings, The Lady Botanist, was recently shown at Megalo Print Studio & Gallery in Canberra.
Erica Seccombe is a storyteller. She unveils mysteries and shows us intriguing forms revealed beneath the skin of things, dragged from the recesses of our memory, perhaps imagined on a dark night. Monsters, hybrids and beasts emerge from the scientific laboratories and virtual spaces in which Seccombe works. She has embarked on a particular project at the Natural History Museum in London. Here she has created new stories to make sense about the history of collecting, microscopy and the scientific pursuit of truth....
Erica Seccombe, A path divided, 2017, Screen print on paper
Mungbeans like you've never seen them before →
Sellah, Anna, 'Mungbeans like you have never seen them before', ABC Science online article, posted, 18 January, 2016, http://www.abc.net.au/news/2016-01-18/x-ray-vision-shows-seeds-sprouting...
Erica Seccombe, Out of Season, 2016, still frame from moving image