Dialogue II: The Butterfly in the Brain / Rorschach: Suzanne Anker & Sabine Flach
Figure 28. Suzanne Anker, Butterfly in the Brain, 2007. Installation view of Brainwave: Common Senses, Exit Art, New York, 2007. Photograph by Henry G. Sanchez. ← 88 | 89 → ← 89 | 90 → ← 90 | 91 →
SUZANNE ANKER & SABINE FLACH
Sabine Flach: The Butterfly in the Brain (2002) and The Rorschach series (2004) focused on the neurosciences as your subject matter. Why did this shift to the cognitive sciences replace your work with genetics?
Suzanne Anker: With the information revealed by the first draft of the Human Genome in 2000, various aspects of brain morphology, neurogenetic variation and gene expression, were being studied by scientists. New imaging technologies including fMRI, CAT scans and advanced sonograms revealed acute aspects of the workings of the human nervous system. The complexity of genetics and its variable permutations is certainly outdistanced by neurological processes. The neurosciences and their attendant landscapes also uncover and expand questions concerning perception, emotion, motion, cognition, and the unconscious. These sciences relate the workings of the brain to language acquisition and metaphorical structuring, as well as to bodily gestures. Thus, these concepts have an underscored affiliation with visual art practice. Questions concerning identity and memory are prominent components of many contemporary artists’ work. Desires to picture thought and emotion have, especially since the invention of the X-ray, whetted the imagination of artists and lay people alike.1
SF: The installation The Butterfly in the Brain is a body of work consisting of objects,...
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