Dr Andre Brodyk

This work is a multimedia installation combining genetically modified biological materials with inorganic forms. The work is situated within contemporary discourse concerning the emergent form known as Biotech art. This new genre adapts and uses biotechnology as new art methods and materials. These new representations are characterised by their distinctive hybrid and interdisciplinary nature and transcend traditional disciplinary boundaries. The work involves genetic manipulations and is created in a molecular biology laboratory. Given the experimental nature of this work and the relative infancy of the genre of Biotech art, this is new research that explores the manipulation of biological science in an aesthetic and philosophical framework and adapts actual biotechnology protocols to create works of art. These art adaptations of biotechnology models both critique creativity and the nature of bioscience. The work was invited for inclusion in the curated international exhibition Art of the Biotech Era in the Biennale Festival of Arts in Adelaide (2004). It resulted in a chapter contribution to the monograph Art in the Biotech Era published by the Experimental Art Foundation (2008).

The work is situated within the contemporary discourse concerning the emergent art form known as Biotech art. This new genre adapts and uses biotechnology as new art methods and materials. These new representations are characterised by their distinctive hybrid and interdisciplinary nature and transcend traditional disciplinary boundaries. The context for this work was a show case of new art specifically based on research into life science and technology models. Its contribution to art was by its extension outside of that domain to within an important international scientific context - the renowned X1X International Congress of Genetics, Melbourne 2003 with around three thousand scientists and one official artist delegate. The work was an extension of creative knowledge through showcasing the discovery of innovative interdisciplinary and performative biotechnology art-based practices. The work was produced in response to an invitation from the Conference Chair, Dr Philip Batterham. It was the only official congress presentation made by an artist amongst a cohort of three thousand science delegates in 2003.

This work is a multimedia installation combining genetically modified biological materials with inorganic forms. The work is situated within contemporary discourse concerning the emergent form known as Biotech art. This new genre adapts and uses biotechnology as new art methods and materials. These new representations are characterised by their distinctive hybrid and interdisciplinary nature and transcend traditional disciplinary boundaries. The work involves genetic manipulations and is created in a molecular biology laboratory. Given the experimental nature of this work and the relative infancy of the genre of Biotech art, this is new research that explores the manipulation of biological science in an aesthetic and philosophical framework and adapts actual biotechnology protocols to create works of art. These art adaptations of biotechnology models both critique creativity and the nature of bioscience. The work was invited for inclusion in the curated international exhibition Art of the Biotech Era in the Biennale Festival of Arts in Adelaide (2004). It resulted in a chapter contribution to the monograph Art in the Biotech Era published by the Experimental Art Foundation (2008).

The work is situated within the contemporary discourse concerning the emergent art form known as Biotech art. This new genre adapts and uses biotechnology as new art methods and materials. These new representations are characterised by their distinctive hybrid and interdisciplinary nature and transcend traditional disciplinary boundaries. The context for this work was a show case of new art specifically based on research into life science and technology models. Its contribution to art was by its extension outside of that domain to within an important international scientific context - the renowned X1X International Congress of Genetics, Melbourne 2003 with around three thousand scientists and one official artist delegate. The work was an extension of creative knowledge through showcasing the discovery of innovative interdisciplinary and performative biotechnology art-based practices. The work was produced in response to an invitation from the Conference Chair, Dr Philip Batterham. It was the only official congress presentation made by an artist amongst a cohort of three thousand science delegates in 2003.