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The Glass Veil: Seven Adventures in Wonderland

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Suzanne Anker and Sabine Flach

In this collaborative work between artist and theorist Suzanne Anker and art historian Sabine Flach, the study of image production unveils the reality of pictures beyond their function as mere representations of the world. The visuals range from firsthand accounts of specimen collections in historical medical museums, to scientific research laboratories, to studies of plant propagation, among other themes concerning life forms and Bio Art. Focusing on systems of artistic knowledge, the authors demonstrate how context, scale and framing devices alter meaning in pictorial systems. Somatic responses, classification networks and image banks are explored as they relate to intersections in visual art and the biological sciences.
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Dialogue V: Biota / Carbon Collision of the Diamond Mind: Suzanne Anker & Sabine Flach

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Figure 58. Suzanne Anker, Biota, 2011. Porcelain, rapid prototype figurines with silver-leaf, plexiglass, 48 x 96 x 9 in (122 x 244 x 22.8 cm). Installation view of Cerebral Spirits: Stalking the Self at the Ben Shahn Center for the Visual Arts, William Paterson University Galleries, 2012. Photograph by Raul Valverde. ← 136 | 137 → ← 137 | 138 → ← 138 | 139 →



SUZANNE ANKER & SABINE FLACH

Sabine Flach: Biota is an expansive series of porcelain sculptures which you arrange in an installation format. How do you see your sculpture in relation to your other work?

Suzanne Anker: I am primarily a sculptor, a maker of objects. I think in three-dimensions. Perhaps it is the haptic nature of my work, which is replete with textural surfaces, allowing me to relate my sculpture to a corporeal self. Touching and molding material is an alchemical process, as materials go through a measure of becoming something other. Recently, my preoccupation with rapid prototype sculpture simultaneously grants me multiple views of my work from a frontal perspective. Such leverage adds to the ways that dimensionality of matter can be conceptualized. Matter as substance speaks to a consummate kinesthetic experience, in contrast to painting or photography. It is more tangible, more real, closer to the earth-bound elements of gravity and space and how they are displaced.

In two-dimensional work, illusion carries perceptual weight, while in sculpture, there is less presumed ambiguity. We know that sculpture is a thing...

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