US based artist/scientist. The foundation of my current project; is a series titled “Compensation for Loss”. It references the engineering of extinct or endangered species and how animal and mineral parts may be recombined to create chimerical beasts. Some compositions include collaged images of man-made parts used to strengthen or fill in missing pieces, to compensate for loss. My project comments upon historic and contemporary scientific inquiry into biological and mineral realms. Just as today we look back on the Renaissance collections and consider them naive understandings of the natural world, our present-day assembly of genetic code to understand living cells may seem
Previous Collaboration: Several years ago, I read Michael Pollan’s book The Botany of Desire and was intrigued by his chapter on the “tulip mania” in Holland in the 1630s, in which the variegated type of tulip was particularly prized. Centuries later, it was discovered that the variations were the result of genetic mutations known as transposons. When I asked a microbiologist to collaborate with me on a project that I would be exhibiting at the National Institutes of Health in May 2018, he suggested that I work with transposons—with which I was already familiar through Pollan’s book. I took up the microbiologist’s suggestion and incubated the project with a focus on experimenting with visualizing aspects of the tulip genome and other themes from tulip mania. A Dutch biologist, working on sequencing the tulip genome shared his preliminary results with me. He used relatively new technology called MinIOn, made by Oxford Nanopore to sequence the tulip genome and I plan to approach the company to solicit funds for my project. I am sure they did not intend for this technology to be used for artistic purposes and I imagine they will be pleasantly surprised by my endeavour. The exhibition will be a series
Why a Broto Collaboration? I want to expand my knowledge and get more inspiration from a zoologist or other scientist who works with the subject.
Seeking: A scientist who can understand that artists do not have the same requirements as they do to understand the science of what their subject.