My work focuses on mankind’s dysfunctional relationship to nature. Through a process of observing our everyday behaviour towards nature, dissociating it from its context and
malatsion: “Science has influenced quite a few of my works as a source of inspiration. You can classify these works as science-related art. Right after my switch to the academy, my interest in science was for a while pushed into the background. It was only in 2008 that it re-emerged. Science is for me above all a source of images which helps me create installation works that remind their viewers of places such as the laboratory or of scientific methods such as the experiment.”
The terms Space Art or Astronomical Art (I prefer the latter) are used for pictorial representations of aspects of the cosmos or the universe. Obviously, Astronomical Art also allows to represent utopias, but always on the basis of the current state of research in natural science. “Beam me up, Scotty” remains Science Fiction. It has to do with science and cultural history, with technology and last but not least with Man, who has always felt the urge to leave planet Earth and to explore the universe. …
At a time when copyright issues are debated ever more heatedly, an artwork titled True Copy may appear as more than a slight provocation. Above all, its aesthetic play on the legal, ethical, as well as ontological and epistemological dimensions of copying challenges us into re-considering some of the most pivotal questions surrounding truth and originality: What is a copy? When is this copy a true copy? How do (true) copies relate to their original/s?
In 1754, the Anatomical Collections of the University of Erlangen-Nuremberg were established for the purpose of providing teaching material for classes held at the Anatomical Institute. In the meantime, the collection is also accessible to non-specialists twice a year. Yet, due to the extraction of the specimen from its original context and its solidification into an object, a layman will never be able to perceive a specimen with the rational logic that is appropriate to the observation of scientific models. The object thus takes on the appearance of a shadow of the living, reminding us of our own mortality in a disturbing yet monstrous way.
According to the terminology of the online journal, I am on the border between science and art: on one hand I am a working artist, and on the other, active in the sciences as a participant in a master’s program. I would like to describe the stages of development leading to this state.
A border crosser between science and art is what the online journal calls an individual working both scientifically and artistically in the field of fine arts. I belong to this group, too. (…) I will introduce the reader to some of my artistic works created since 2013. For this purpose, I will select some representative examples from several series and explain their prevailing peculiarities.
Meral Alma, although you are still studying at the Düsseldorf Art Academy under Siegfried Anzinger, as a painter over the last three years you have managed to position yourself remarkably well in the art market. Seven solo exhibitions, participation in over twenty group exhibitions, two-time winner of the talent award of the Düsseldorf Art Academy.
The objective is to progressively and comprehensively list institutions occupied with the connections between science and art by whatever means. At that, distinctions are made