Morphogenetic fields
What is this art project about? The proposal concerns an exhibition that ideally functions in the form of an audiovisual installation. The inspiration for the theme, as well as the visual identity and language, stems from the theory of Morphogenetic Fields, which belongs to the field of Biology. See explanation
The content of the exhibition is
1. (1) 7 to 14 digital paintings measuring 2 meters by 1.5 meters on thin, semi-transparent muslin fabric
2. (2) 1 digital painting on paper measuring 90 cm by 5 meters - which is hung with string or similar from above and extends to the floor
3. (3) 7 digital drawings measuring 50 x 50 cm printed on velvet fabric
4. (4) 5 silkscreen prints on plexiglass measuring 50 cm by 125 cm
5. (5) A series of 120x60 cm three-dimensional constructions covered with muslin fabric - digital painting.
6. (6) A series of videos for projection and an audio file that provides sound for the installation space.
Morphogenetic fields are areas of biology that study the development and reproduction of organisms, as well as their genetic heritage. These fields include morphology (the form and structure of organs), developmental biology (the process of organ development), and genetics (the study of heredity and the genetic factors that influence the characteristics of an organism). These fields contribute to our understanding of evolution and diversity in the world of life. My most recent work is inspired by a theory in biology called Morphogenetic Fields. In Greek, morpho-morphe means shape or form. Genetic, on the other hand, comes from the Greek word γενετικός, genitive, from γένεση, meaning genesis. Genesis is the beginning or origin of everything. The compound word morphogenetic, therefore, means the construction of form or shape. The term Morphogenetic Fields immediately sparked visual associations and artistic forms in my mind. Furthermore, when I explored the meaning of the term in the context of science, my associations and the meaning of the term upgraded my thinking about the prospect of visual experimentation. Specifically, and more than any other approach, I used the innovative positions of biologist Rupert Sheldrake, who has presented alternative interpretations of field theory, arguing for the existence of certain fields of unknown nature that function as invisible blueprints of forms. Morphogenetic fields are what define and give form to developing organisms, playing a formative role similar to that of architectural design in the construction of, for example, a building. Sheldrake generalizes the concept of these fields into “morphic fields,” implying the existence of a new type of field, unknown to modern science, that is responsible not only for determining form but also behavior. These are fields that organize any system in terms of both the form and function of each organism or system. Each system has such a field that unites and coordinates its various parts so that it acts and behaves as a whole. Thus, a system is no longer the
THE PROCESS AND THE NARRATIVE
Biology as a whole is full of visual material. Starting with the subject matter of the science, which concerns the study of organisms—animals, plants, and microorganisms—and extending to the way findings are depicted, the field of biology offers inexhaustible material for visual research. As a science, it is the catalyst for our knowledge of living organisms, which are themselves a rich source of material that can be used in a visual arts project, and thus served as the main point of reference for the work at hand. Specifically, the laboratory images of microorganisms and cells and how they appear under the microscope, as well as the distinctive appearance and aesthetics of the illustrations and drawings of organisms from technical drawings depicting scientific findings in biology studies.
The designs that emerged from the theme, both in terms of color palette and shape, refer to biological elements or details from notes or laboratory findings.
At the same time, I wanted the proposed method of juxtaposition and installation as a whole to be an otherworldly landscape that would contrast with the many “bio-associations” made by the works. The entire installation was dressed with lighting
which I believed would slow down the viewer's navigation and create a more mysterious feeling. At the same time, a space with a dirt floor and no descriptive visual information would help to give intensity to the works and their themes.
