What I intend to reflect upon is a negotiation between the scientific, natural and metaphysical philosophy toward the nature of mimicry. Focusing particular attention upon human cognitive behaviours and interactions within environments. Exploring how thoughts and processes are reflected in the world around us, informed by human creation. Emphasising similarities between cellular formations mimicked in the man made.  

In order to establish research I aim to develop a suggestion, through various examples, of the intentional and the un-intentional realisation of natural imitative processes.  By observing the biological collective mechanisms of various organisms, determinations of similarities in multiple cellular reactions of internal and external environmental influences can be visualised.  I believe this suggests a natural development of human communication that is a fundamental, increasingly necessary process toward diversifying creativity. Within my practise I embody an approach that recognises various associations to mimicry, responding to the similar communicative nature of cellular functions. Almost a direct simulation of neuronal activity, identified within the structure of the hidden world of everyday objects. I endeavour to capture these similarities through installations that focus upon the fundamental significance of Mimicry in social and environmental behaviours.

Conveying this sense in a sculptural language, that reflects upon influences that may signify the polarities and the unification of “natural and the Man-made”.  Analysing similarities and projecting enquiries with the intention of conveying a sense of familiarity.

Exploring identifications of mimicry in a variety of contexts such as Social, Cultural, Political and environmental, challenging engagements toward belief systems.  This particular critical research is exploring mimicry through biological reasoning, investigating current themes of Bio-Revolution.

The Science…

For billions of years organisms have developed unique characteristics enabling them to thrive in a diverse range of environments, mimicry has encouraged progression in multiple organisms.  All with a corresponding strategy to best adapt physical and cognitive functions in order to sustain the growth of their species. An imperative quest for survival is the driving force conducive to existence, whilst maintaining the equilibrium, challenging previous methods, continuously improving through diversification of creativity. It has been understood through scientific enquiry that all organisms function through a series of symbiotic relations, producing a continuum of creativity and opportunity. Responding to, and co-operating with, multiple organisms creates various advantageous formations of interdependent relationships that are of benefit to all species involved.

 From birth primary influences like family, culture and environment result in a combination imitative processes, developing physical and social similitudes to that of a corresponding environment.  From a scientific perspective this is a universal biological occurrence in a majority of organisms. Responding to multiple signifiers, improving adaptations, toward effectively minimising any adverse effects that may arise in problematical relationships.  By imitating environments various strategies enable species to advance suitability, as such, if a particular symbiotic relationship isn’t working it is consistently rectified by a creative adaption. Essentially Mimicry is a fundamental strategy, cells adapt accordingly, systematically forming re-directions a “re-mapping of cellular formations”. It is these advancements of intelligent cognitive adaptions that seem to prevail, delivering a succession of survival dynamics.  An ever expanding thought upon the nature of ultimate intelligence and adaptability.


 As a result of these contemplations upon the biological, my artistic practice is a response to encouraging a visual reasoning between this present stage of evolutionary technologies, as well as familiar attributes of other communicative organisms.  By producing sculptural interventions that reflect a holistic approach to “man-made” objects and unveiling the beauty of cellular representation. Having previously sourced various philosophers I have integrated certain aspects of understanding, inviting conceptual interventions throughout my work, I am keen to explore a further variety of contemporary philosophers for future aspirations.  In consideration to a natural progression of information, I intend to proceed in productions that form relevance to a representation of existence as it is occurring in the present, through a personalised lens of metaphoric language.

Presenting a variety of mimetic processes articulated visually through mediums of communication. Determined by closer inspection of man made communicative structures in comparison organic organism formations, organising familiarities toward symbiotic relations. Whilst embodying a conceptual agreement to the possibility that human intervention within environments is also an inevitable organic occurrence.  Relieving the constraints of an ideology that persists in the illusion of separateness.

By delivering these observations effectively, I hope to negotiate an association or an understanding of a symbiotic relationship that is necessary to unify the disconnected beliefs of human/nature separation.  I endeavour to research further into a communicative relationship between the natural world and its influences upon the human mind that serve as a mediator to inform.  Once focused attention is placed upon various functions of co-existing organisms, identifications of elements that are designed to optimise strategies can be made and attributed to human understanding of construction and materials. 

“As human beings develop consciously, they too are fulfilling the rational concept in the same way as a germinated seed or hydrogen atom does”1

“Technology reveals the active relation of man to nature, the direct process of the production of his life, and thereby it also lays bare the process of the production of the social relations of his life, and of the mental conceptions that flow from those relations.”2

“When the summit of the valley is reached, the soft bulges of hills resemble mounds of green mould, fungus, bacteria, the fuzzy balls of fur that form on out of date food, or a bowl of water left out in the sun.  Suddenly the earth seems to move gently in a rhythmic pulsation, flowing with a steady gaze, the busy road now a tiny wiggly line below pushing cars like blood through veins, once again my vision is altered into a familiar existence. Does everyone see this?  Everything feels so small yet so big up here, I feel so far away from my house, but it is just in view and so close. What is distance? Where is time? It’s all down hill from here. Transported to a place in my mind that identifies body with land. My place is here on the hilltop; separate, alone, yet altogether with it, part of it.  This is my stage, and the land is my theatre, but there are no actors here. It is all real, I like it here in the solitude, no fakers like most human interactions, no acting here on this stage. No it’s something else. It is the noise that sounds the best, the silence of wind, trees, birds and dog hunting for rabbits. It’s lonely but I like it, it’s a loneliness that is beautiful, loneliness that isn’t lonely at all. 

Trees become the neuronal receptors, reaching up to the sky with soft hair like branches, grasping at the sun, dancing in the rain, embracing the wind. Birds are fleeting thoughts, racing through the breeze, floating on the thermals.  A sparrow hawk lay still in the sky; level with my eyes we stare and carry on.  The sound of the road cannot exist here yet movement persists, cars are blood vessels carrying life into the destinations they are heading, through the valley artery, pumping in opposite directions.  The darkness unfolds images of red and white lights, conjuring a vision of haemoglobin. Houses resemble hard callouses of built up skin, amongst the soft body of grass and the sea of ploughed earth, maybe results of an irritating scratch, maybe a renewal the shedding of skin awaiting new life a new layer, a new spring” S.Aunger.  

Over the past 10 years I have developed a research project that explores the nature of the un-natural, in response to this investigation I have produced a variety works using multiple mediums.  These mediums include sculpture, installations, animation, photography, painting, drawing and creative writing.  In reference to this theoretical theme, use of materials and words, symbolically allude to a metaphoric language toward understanding the nature of the man made.

Initial contemplations focused upon the various philosophical reasoning of Alan Watts, Charles Peirce, Emmanuel Kant, Heidegger and Noam Chomsky all inspired ways in which I could conceptualise the planet functioning as an organism.  Negotiating aspects toward the nature of human and microbial agenda. My own contemplations reflected personal perceptions of a cerebral intention, how consciousness is mirrored in the world around us.  So as Heidegger exclaims that “ Our homes are a reflection of our minds” and Alan Watts refers to human/planetary behaviours through metaphoric language as “ the tail does not wag the dog, it is the dog that wags the tail”.  Although these thoughts differ in interpretation, my own comprehension of these narratives has led me to continuously question similarities in behaviours and characteristics between organisms. 

By analysing similarities in natural formations of networks and that of man made creations, one can observe a process that is of a corresponding nature.  One that seems to be a reflection of the brain imitating cellular processes, the mind reproducing itself into the external world, in order to facilitate growth through communication.

This reoccurring thought has manifested throughout my project, communicated in various forms, fundamentally my use of wire alludes to inspecting these conduits that facilitate survival.  Observing the very cellular qualities and representations they embody.   Often overlooked everyday items that connect human to human, that form in an identical nature to that of fungi, bacteria and other microbial forms.

Much like these formations of organisms, it would seem that human behaviours and interactions mimic that of a cerebral nature.  In this sense, my manipulation of wires displays the identifications toward that of a neuronal structure.  A continuous reflection in the world around us that mimics the components of the brain.

My journey exploring this research has been somewhat challenging, specifically, creating pieces that communicate this philosophical enquiry.  However, I have continuously delivered a visual language that corresponds to the initial enquiry, as Alan Watts suggested, “ as the apple grows from the tree, it is from it.  This is true of man”.  So then, with this statement in mind common consciousness seems to relate to identity as separate, my research endeavours to observe human creation as natural occurrence and transition of evolution.  Perceptions of the man made being of an un-natural occurrence, the negative assumptions upon the detrimental effects of human interactions within environments.  Suggesting that without these “un-natural” behaviours there would be no natural progression of creative thought and adaption, which facilitates evolution. 

By observing growth patterns and networks I believe that similitudes can be identified in cellular growth to that of human growth.  Through multiplication strategies can be adapted, diversified and evolved this is an outcome of communicating knowledge and information through the formation of networks and is true of all organisms.

As such I feel compelled to continue my research and document in multiple forms, during my time on the MA I have adapted my presentations of this theory in order to effectively curate examples of research.  Continuously responding to the original enquiry.  At times I have found this frustrating, questioning concepts challenging my personal perceptions and modes of creativity.  However, it has been crucial to my development as an artist, responding to my environment that is true to the source of my contemplations.

Composing ideas that would combine the polarities of natural formations to that of artificially imitated ones has often been limited by subjectivity.  Contrasting various elements I found suggested subtle questioning of my reasoning for doing so.  Having a strong bond to my environment I considered using materials that directly informed my own personal growth, influenced by my surroundings. Gathering specific artefacts that embody my study, and myself firstly I hung a canvas in the garden for a year to capture the process of organisms as a natural outcome of environmental influences on a micro level.  On the counterbalance I gathered electrical pylon cable that connected all of the houses of my environment together, observing on a macro level. Establishing identifications between how bacteria were forming on the canvas in comparison to that of the human world.

Considerations of these occurrences have influenced my positioning of the work for example, hanging the canvas inside a gallery space contrasts its original environment to hopefully stimulate visual focus upon the content.  All my references exist translating a language of polarities, so incorporating these elements that occur outside and displaying inside corresponds to the nature of the work itself.  Exacting the pylon cable has been problematic, conjuring various ways of connecting the two elements in order to create a harmonious combination of radically different components, which reflect a corresponding theme. 

Essentially visualising the intrinsic nature of both pieces transpired into the deconstruction of the cable to uncover its neuron like form, alluding to a cellular structure. Alienating its original identity as a structure that is associated with structured above us, escaping attention, focusing upon this draws attention to the actual intention of its function, in a sense, positioning to bring back down to earth and consider interpretation. 

Growth Multiplication…Networks (Implied communication between parts of the network, identifying connections, capturing through marking with ink, corresponding relationships in process and pattern).

In order for networks to grow, thrive, develop, diversify, evolve, communications between parts of the network need to take place, this is true of organic as well as in organic matter. I create assemblages of organic as well as in organic materials to form and identify networks.

Chosen materials have both structural and symbolic value.  They literally support each other, entwine with each other structurally. Symbolically they aim to imply subtle suggestions towards the similitudes of natural growth.  Conveying allusions to the relationships between the man made and natural, challenging perceptual understanding of separateness.

Equally the use of electrical pylon cable symbolically alludes to the passing of energy and information within the structure of a network, visually negotiating similar corresponding formations to that of bacteria and fungi.

The form of networks I create are in part determined by the materials themselves, but are also designed to allude to larger structures such as cityscapes through mapping.  As such I am alluding to the fact that such networks exist in a range of scales bacterial/cellular. Sematic and at a geographic macro level similarities can be observed between how human intervention mirrors strategies to that of bacterial and fungi. 

These identifications have inspired and influenced my visual communications; my project has evolved through using two contrasting materials.  By entwining inorganic and organic materials I intend to create visual references to natural intention of creation and created by observing multiplication through growth patterns in mildew formed on a canvas that has been hanging in the garden for a year.  Polarising the organic I have been manipulating pylon cable gathered from the same environment as the hanging canvas, to form a floor installation that consists of multiple pieces of cable.  Processing this material into multiple cellular forms I feel captures this corresponding relationship on a macro and micro spectrum.

In order to translate the work effectively I believe that positioning the canvas above the pylon cable on the floor creates engagement between the relationships of two opposing materials. Initiated by neuronal networks identified by deconstructing and reconstructing wire.

Using Format