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Download - Advances in Clinical Neuroscience and Rehabilitation

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N E U RO LO GY I N A RTAn Artist’s View of theBra<strong>in</strong>Jane Southgatega<strong>in</strong>ed her BA at Chelsea School off<strong>in</strong>e art <strong>and</strong> has worked as aprofessional artist from her studio<strong>in</strong> Suffolk for the last 17 years. Sheregularly exhibits, undertakescommissions <strong>and</strong> runs workshopsfor a variety of different groups.Her work is generally threedimensional<strong>and</strong> often conta<strong>in</strong>s atextile element.Correspondence to:Jane Southgate,1 Bridges Cottages,Darmsden,Ipswich,Suffolk,IP6 8RA UK.Email: janevsouthgate@yahoo.co.ukThere is always a biological element <strong>in</strong> mywork, usually human but not exclusively,however lately I have been fasc<strong>in</strong>ated by thebra<strong>in</strong>. This <strong>in</strong>terest arose after the death of a familymember from a bra<strong>in</strong> tumour. As an artist, themajority of my work <strong>in</strong>volves life cycles <strong>and</strong> has attimes addressed pregnancy, the lifecycle <strong>and</strong> nest<strong>in</strong>gof birds, reclamation <strong>and</strong> recycl<strong>in</strong>g, decay <strong>and</strong> newlife with<strong>in</strong> the natural world. I wasn’t look<strong>in</strong>g foranswers, reasons or even explanations l<strong>in</strong>ked withthis event. It merely highlighted to me what anamaz<strong>in</strong>g <strong>and</strong> fasc<strong>in</strong>at<strong>in</strong>g organ the bra<strong>in</strong> is. Initially Iconcentrated on the theoretical concepts, I amenthralled by how we can be ourselves, have ourown <strong>in</strong>dividual personality <strong>and</strong> yet everyth<strong>in</strong>g weare, do <strong>and</strong> th<strong>in</strong>k has been expla<strong>in</strong>ed by some asmerely a process <strong>in</strong> the bra<strong>in</strong>, how can this be all weare? How can electro-chemical reactions with<strong>in</strong> ourbra<strong>in</strong>s make me an artist <strong>and</strong> you a neurologist? Andwhere does the spirit of each of us come from, <strong>and</strong>reside, with<strong>in</strong> that amaz<strong>in</strong>g network of fir<strong>in</strong>gsynapses? Well, these questions I still can’t answer<strong>and</strong> they still fill me with awe. I have, however, beenlearn<strong>in</strong>g more about the physical construction ofthe bra<strong>in</strong> <strong>and</strong>, as a sculptor who frequently workswith textiles, this grasp<strong>in</strong>g at an underst<strong>and</strong><strong>in</strong>g of thefabrication of the bra<strong>in</strong> holds another area foramazement.In order to explore my thoughts <strong>and</strong> f<strong>in</strong>d<strong>in</strong>gs Ibegan mak<strong>in</strong>g papercuts of the outer appearance ofthe bra<strong>in</strong>, that beautiful folded <strong>and</strong> pleated, almostquilted surface. I followed this with a papercut of anartistic <strong>in</strong>terpretation of neurons. Neurons, it seemsto me, really are the thread of our thoughts. Theirdelicate spidery dendrites <strong>and</strong> axons have a trulytextile, woven quality to them. For this very reason Icrocheted a neuron, but this wasn’t delicate enough<strong>and</strong> I felt it lacked the fantastically fragile appearanceof the real th<strong>in</strong>g. This led me <strong>in</strong>to an experimentof embroider<strong>in</strong>g neurones onto dissolvablefabric so that I could make a neuron lace. I washappier with the results but currently I am try<strong>in</strong>g tof<strong>in</strong>d a way of mak<strong>in</strong>g them more three-dimensionalas the flat lace doesn’t do justice to the the neuralnetworks <strong>and</strong> <strong>in</strong>terconnections. I have embroidereda side view of the bra<strong>in</strong> <strong>and</strong> upper bra<strong>in</strong>stem, <strong>and</strong>made a quilted version although I <strong>in</strong>tend to work onthis quilt<strong>in</strong>g effect much more as my first attemptdoesn’t embody the sumptuous depths of thecrenellations that I want to capture. I have justf<strong>in</strong>ished knitt<strong>in</strong>g myself a bra<strong>in</strong>. I took my knitt<strong>in</strong>g <strong>in</strong>my bag with me wherever I was go<strong>in</strong>g for the last fewweeks so I could work on it whenever I had a fewm<strong>in</strong>utes. It was fantastic fun to see people’s reactionsas they often stopped me to ask what it was I wasknitt<strong>in</strong>g. I am try<strong>in</strong>g to design a way to make a veryloose 3-D weav<strong>in</strong>g based on images of thought pathways<strong>and</strong> digitally recoloured photographs ofneuron <strong>in</strong>terconnections especially the gorgeousKnitted bra<strong>in</strong>‘Bra<strong>in</strong>bow Mouse’ images by Jean Livet, Joshua RSanes <strong>and</strong> Jeff Lichtman but it is prov<strong>in</strong>g to be ratherdem<strong>and</strong><strong>in</strong>g. Hav<strong>in</strong>g recently visited the WellcomeTrust to see ‘Bra<strong>in</strong>s: The M<strong>in</strong>d as Matter’ exhibition Iwas captivated by the fantastic draw<strong>in</strong>gs of SantiagoRamon y Cajal. I am hop<strong>in</strong>g to create a body of workthat will be exhibited together <strong>in</strong> order to <strong>in</strong>spireother peoples’ <strong>in</strong>terest <strong>and</strong> exploration <strong>in</strong>to thisfasc<strong>in</strong>at<strong>in</strong>g organ. Particularly, I hope to encapsulatea sense of its visual beauty <strong>in</strong> physical construction,externally <strong>and</strong> <strong>in</strong>ternally, not just its vast, assorted<strong>and</strong> amaz<strong>in</strong>g functions. lNeuron laceACNR > VOLUME 12 NUMBER 4 > SEPTEMBER/OCTOBER 2012 > 21

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