drawings of bacteria and people pulling faces

Storytelling Science: Free online art, science and storytelling workshops | 19/20 February 2021

19/20 February 2021

Storytelling Science: 

Creative online workshops for 13-17-year-olds exploring the science of our immune systems + Shigella bacterial infection through game-making and socially engaging games.


drawings of bacteria and people pulling faces

Chit Chat & Catch: Shigella is around!

19 / 20 February 


FREE EVENT: book here for Chit Chat & Catch


How can you cage bacteria? How do bacteria escape? How do cells talk to each other?

In this interactive workshop we will explore the fascinating science of the human immune system and Shigella bacteria through a creative role-playing game of deception, secret language and storytelling, looking at how cells and other important characters in our body defend against infection. 

Score points and guess which players are the invading bacteria before it’s too late…


drawings of bacteria and hands making

Ready Shigella Go!

19 / 20 February 


FREE EVENT: book here Ready Shigella Go!


How do tiny, blob shaped bacteria make us so sick? Are they truly evil… or just trying to stay alive? Do our bodies have bouncers to try and keep them out? 

We’ll be exploring the unseen tale of good versus evil that takes place in our bodies on a daily basis, and through hands-on game making, try to hear out both sides of the story. If the bad guys manage to storm our body’s barricades, how does our immune system kick into gear and fend them off? If you’re the bacteria… how can you ensure you outsmart the immune system?

In this workshop we’ll up-cycle everyday materials to design and make tabletop games, and play out the battle between the deadly Shigella bacteria and the human immune system.


The Storytelling Science workshops are designed for young people (aged 13-17) with an interest in art and/or science, seeking interesting experiences and unusual portfolio material. All participants will learn hands on creative techniques and generate visual stories using a range of skills. The workshops combine art, science and storytelling to better understand bacterial infection and are designed to merge digital and hands-on creative activities in a safe online space – devised and delivered by students from Central Saint Martins studying MA Art and Science, MA Graphic Communication Design and MA Character Animation.

Storytelling Science is inspired by the work of the Mostowy Lab at the London School of Hygiene & Tropical Medicine, a scientific research group studying the highly contagious and often deadly Shigella bacteria. The project aims to share insights and stories from the scientific research of the Mostowy Lab to engage and excite audiences about a range of topics including trained innate immunity and science citizenship through creative workshops. 

Supported by a Wellcome Trust Research Enrichment Grant and by the London School of Hygiene & Tropical Medicine, Storytelling Science is being run with Central Saint Martins, Manchester Metropolitan University, and Volda University College, part of a larger project produced by Animate Projects and Samantha Moore. 



A Picture of Health leaflets

A Picture of Health – Medical Research Council


Students from MAAS and MAFA collaborated on a project with the Medical Research Council (MRC) funded London Institute of Medical Sciences (LMS). The project was designed and run by Dr Jenna Stevens-Smith and Lucy Brown.


Young woman making a speech.

Dr Jenna Stevens-Smith, Head of Communications and Engagement, MRC LMS (Photo -Jody Kingzett)

Young woman clapping and smiling

Lucy Brown – Engagement Project Manager and Creative Producer of A Picture of Health (Photo -Jody Kingzett)

It began with a workshop on 20th June 2019 hosted at LMS where researchers associated with the institute presented their research into 6 key themes; Antimicrobial Resistance and Infection, Diet and Lifestyle, Genetics and Assistive Technologies, Mental Health and Dementia, Environment and Ageing, Artificial Intelligence and Big Data.  The workshop enabled round-table discussion of these topics between mixed groups of artists, scientists, and artist facilitators.  The workshop aim was to link artists and scientists who were interested in working together to create an art project with one of the themes as a focus.   Discussions were varied and highlighted areas both of overlap in interest, and differences of opinion around these different themes of research and the approaches that were used, spanning ethics and different perspectives of evidence and experience in art and science.  Following the workshop, artists were invited to submit proposals for a piece of work to be produced for a future showcase event.  Proposals submitted were selected by a panel of staff from the LMC, with access facilitated to scientists to support discussion and facilitation of work.

Current and former MAAS / MAFA Students participating in the project individually or in groups included Phil Barton (Ageing and Environment), Mariana Heilmann (Antimicrobial Resistance), Teresa Byrne, Lottie Bolster & Rowan Riley (Dementia & Mental Health), Rose Mengmei, Lois Bentley, and Riko Yasumiya (Artificial Intelligence & Big Data), and Laura Madeley (Sleep /Diet & Lifestyle).

Interim work by the artists was presented at a crit event on 27th September 2019 attended by scientist collaborators, artist-facilitators, and members of the LMS.  Feedback was provided on the direction of the work with suggestions for future development of the work at the final showcase.   Again, discussions highlighted the similarities and differences in how methods of science and art approach a brief, and how creative ideas can emerge and take different directions from an initial proposal.  These ideas were further developed following viewing of a gallery space at Elephant West. Proposals for the final projects were developed with the gallery’s curator, Gareth Meredith and project manager, Lucy Brown for a final exhibition. 

The artists’ final work was exhibited at a showcase event on the 18th November 2019 at Elephant West’s project space and cultural hub.  Works presented included a range of materials and techniques including woodcuts, ceramics, stitch, textiles, etching, and physical computing and arduino to create prints, paintings and interactive installations.  The pop-up exhibition was well attended, with the audience hearing brief talks by artists on their work within the gallery space, interviewed by one of the project facilitators.   The opening event was followed the next day with workshops hosted by the artists attended by local community groups.  A tour of the exhibition was followed by creative sessions informed by the methods and themes artists had used in their work including collage, drawing and printmaking.

Crowded gallery with a woman making a speech at the far end of the darkened space.

A Picture of Health private view at Elephant West (Photo-Jody Kingzett)

The work was showcased again at the Science Museum as part of the Art & Science themed Lates Event, where work was installed for another pop-up and artists ran workshops and spoke to the public about their work.

The series of events was completed with a London Laser talk event where artists participating in the project spoke about the process of collaboration in an event alongside artists working in the healthcare field, creative producers, and staff from CSM and LMS.



Systems within Systems: Mapping Pathways.

Mariana Heilmann 



Systems Within Systems is a thinking tool.

It is an interactive method to map pathways through the complex and inter-related web of factors that affect health. For this exhibition, this method is being used to explore the global topic of antimicrobial resistance (AMR), in particular, the important part that the individual plays in the bigger picture.

In collaboration with Dr. Enrique Castro Sanchez (Imperial College London), the method has been adapted for the purpose of running workshops with local school children. The featured pathway is intended to promote awareness and empowerment around the topic of keeping healthy (thereby avoiding antibiotics).

Progressively, each layer represents a system and the subsystems that exist within it. Through dialogue and analysis, each layer is filled. The wipe-able blackboard material allows for multiple “journeys” of thought and analysis.

A group of people stand around a table in a gallery whilst a woman presents a project.

A Picture of Health pop up exhibition at Elephant West November 2019 (Mariana Heilmann’s work in background and on screen: Systems Within Systems -2019.

A set of black ceramic nested bowls with white writing on the edges and along the inside rims

Systems Within Systems 2019-Mariana Heilmann

A Good Night’s Sleep

Laura chose the topic of sleep for this project because although it is essential for our health and survival, many of its mechanisms remain a mystery. Clinical and translational research explores multiple factors that regulate our sleep, and what happens when these processes become disregulated.

Alongside this, there is public health interest in sleep, in part because the relationship between sleep and health is circular; poor sleep can be both cause and consequence of other health problems including physical and mental health difficulties. Sleep is also something we can easily take for granted, or restrict, by living in a 24/7 society, if we don’t recognise its importance for our health and wellbeing.

The work for A Good Night’s Sleep was developed using data from Laura’s personal overnight sleep study (Polysomnography – “PSG”). Polysomnography enables sleep technologists and clinicians to understand the quality and quantity of an individual’ sleep in a clinical setting, and makes the invisible processes of sleep visible. This dataset includes electroencephalography EEG, heart rate, blood oxygenation and Electrocardiogram (ECG). Working with it enabled conversations with medical technologists, and clinicians about how PSG data is used in diagnosis.

view into a long narrow room with a projection on the end wall and art work along each side wall.

Laura Madeley’s installation – A Good Night’s Sleep (Photo-Jody Kingzett)

Close up of two walls at right angles. End wall has an image projected onto it, the other wall has abstract art in geometric shapes.

Laura Madeley’s installation – A Good Night’s Sleep (Photo-Jody Kingzett)

A Deep Connection: Urban Trees and Health Human Health in Cities

A Picture of Health depends on human beings living in harmony with the life support systems sustaining us – the air we breath, the water we drink, the food we eat, the weather we experience as well as the economics that support us, the culture that nourishes us, the medicine that treats us and the rights that we enjoy.   Individuals are an integral part of complex systems – and so are the trees.

A Deep Connection was made in creative dialogue with scientists working on Diet and Lifestyle, the Health of Trees and Environmental Impacts & Ageing and Antimicrobial Resistance & Infection. 

Initially supplying medical and environmental research papers Phil Barton then held two creative workshops to consider the scientific similarities and differences of a picture of health for people and urban trees.   Together they brainstormed, wrote poetry, drew and deliberated. Many elements of the finished artwork reflect these interactions.

Find out more

A triptych on a wall framed by a large light blue circle. The triptych (a large scale woodcut print)depicts a red tree and its roots. The image is superimposed by two green human shaped networks at each side of the tree.

Phil Barton’s work- A Deep Connection (Photo-Jody Kingzett)

Three people stand in front of a triptych depicting a red tree and its roots.

Phil Barton’s work- A Deep Connection (Photo-Jody Kingzett)

The Centre Cannot Hold

Lottie Bolster, Rowan Riley, Teresa Zerafa Byrne

‘The Centre Cannot Hold’ is a joint work produced by artists Lottie Bolster, Rowan Riley and Teresa Zerafa Byrne, in response to Professor Oliver Howe’s, talk on representations of mental illness, with focus on psychosis, in the popular press.

Composed of nine mixed media canvases, the piece uses metaphor to explore common threads between three seemingly disparate ‘conditions’: dementia, schizophrenia and effects of trauma. In doing so it calls the viewer to consider their assumptions around common categorisations: health vs illness, neurological vs psychological and different diagnostic labels.


A collection of 9 square artworks of varying sizes hanging on a white wall.

A Picture of Health pop up exhibition at Elephant West November 2019 (Work by Lottie Bolster, Rowan Riley, Teresa Zerafa Byrne : The Centre cannot hold -2019.)

Close up of an embroidered canvas.

A Picture of Health pop up exhibition at Elephant West November 2019 (Close up of work by Lottie Bolster: The Centre cannot hold -2019.)

Close up of an embroidered canvas with abstract shapes painted in bright colours

A Picture of Health pop up exhibition at Elephant West November 2019 (Close up ‘Remove’ by Teresa Zerafa Byrne: The Centre cannot hold -2019.)

Held in the Gaze: consists of three artworks – Heart, Dream-Catcher, Accuracy &Trust

Held in the Gaze, is a response to the phrase “A Picture of Health” by three artists for whom health and conversations about it are central to their practice. By investigation and art-making they seek to bring insights from current research in the medical field, that involve machine learning and link to the rich history of diverse ‘ways of knowing’. Under the theme of Big data and Artificial Intelligence, their anchor for a Picture of Health is how we are seen as patients and when computer representations of ourselves are central to a clinical consultation. 

Held in the Gaze consists of three pieces: Heart; Accuracy and Trust and Dream-Catcher Machine, exploring the medical and algorithmic gaze.

Heart is a robotic work simulating a heart beat. It examines whether medical diagnostic imaging tools truly represent our internal physiology.

Accuracy and Trust explores the tension between the need of greater data for accuracy, and our trust in the system collecting it.

Dream-Catcher Machine creates a space for participants to enter, with images gathered from the artists’ learning journey with doctoral student Jonny Jackson in the field of medical imaging and data science.

A wide paper banner with three sets of cartoons.

Held In The Gaze 2019-Lois Bentley, Riko Yasumiya, Rose Mengmei Zhou 5 Jonny Jackson

Held In The Gaze 2019- Lois Bentley, Riko Yasumiya, Rose Mengmei Zhou 5 Jonny Jackson

Various artworks against a backdrop of a giant machinery.

CERN travelling exhibition programme

Following the annual research study trip to CERN in January 2019, a series of international exhibits, sponsored by CERN across Europe, featured works by MA Art and Science artists. Andy Charalambous, a longtime CERN collaborator and Visiting Tutor on MA Art and Science, spearheaded the exhibitions in coordination with Michael Hoch of Art@CMS. This outreach initiative of the CMS experiment at the Large Hadron Collider, the world’s largest and most powerful particle accelerator, has provided numerous opportunities for MA Art and Science students across the continent.
From May to November 2019, our artists joined colleagues from across Europe in a series of exhibits, including in Geneva, Switzerland, at CERN headquarters; in Ghent, Belgium, at the Royal Academy of Fine Arts (KASK); and in Sofia, Bulgaria, at the Sofia Tech Park.
Curated by MA Art and Science students, the exhibits provided exceptional opportunities for collaboration with scientists and fellow artists, exposure to broader arts communities in Europe, and the chance to build long-term relationships going forward.
Abstract brown poster with white words
Origin Poetics poster

Exhibition, CERN headquarters, July 2019. Hannah Brown’s work in foreground.

Exhibition space at KASK building in Ghent. Diane Wingate’s work in the foreground : Disregard # 3- 2019, Screen print on paper , 70 x 100cm.

Andy Charalambous’s work in foreground.

CSM Art & Science student and alumni exhibition at CERN during the Open Days event at the CMS experiment. Pictured in foreground, Mariana Heilmann’s work from her Energy Series – biro and acrylic on wooden panel.

Exhibition at Sophia. Yang Li’s work in foreground: Artificial Amber.
ORIGIN POETICS “Zwarte Zaal”,  Exhibition, KASK, Ghent, July 2019 (Lois Bentley’s triangular sculpture: Magnetic Resonance – triangulated sheet steel, collaged UV print, neodymium magnets.

Tranquil City Collaboration: 2019

Some of us teamed up with Tranquil City to create a workshop activity to be included in the Mayor of London’s National Park City Festival. Tranquil City is a charitable organisation running ‘tranquil’ walks which encourage contemplation, discovery and an engagement with the local history and urban environment in London.

Specifically aimed at the local community in Newham, we asked participants to use words to co-create a skyline of the River Lea. We hoped participants would be able to write their thoughts, feelings and hopes in spaces earmarked for immanent development. The event took place in July at Cody Dock and again in the Olympic Park.

a photo of the River Lea with the words 'wellbeing and the national park city, Tranquil City, UAL, Codydock. Mayor of London, London National park City'.

Codydock Flyer, July 2019


a hand drawing words onto the rRver Lea skyline

Word Drawing at Codydock, 2019

a group of people leaning over and adding to the word-drawing

Olympic Park


CERN : Highlights and Reflections

In mid January of 2019 a group of over 20 MA Art and Science students made their way to CERN, the European Organisation for Nuclear Research. Famous for its discovery of the Higgs Boson to the World Wide Web, and home to the Large Hadron Collider. From learning about these discoveries, to seeing where they were created, and for a number of days being a part of the daily life of the CERN community… here tells a number of personal highlights and reflections from the journey. 

Charlotte Bolster

From the Large Hadron Collider to Hadron therapy.

CERN doesn’t just do ‘science for science sake’. As the senior Advisor for Medical Applications, Manjit Dosanjh works to translate the developments taking place into improvements in cancer care.

In a fortuitous change to our schedule we were privileged to join a lecture she was hosting, in which she communicated the historical advancements in radiotherapy, and the promise of hadron therapy, i.e. using hadrons accelerated through the same principles as used in the LHC.

Most poignantly, she spoke of global disparity in access to radiotherapy, and her ambition to lead the way in developing radiation therapy solutions ‘in situations where the power supply is unreliable, the climate is harsh or communications are poor’.  Inspired by her words, several of us are intending to meet with her again and explore how we might contribute to her dream by using our art practice to direct attention to this need. 

Mariana Heilmann

One of the aspects of CERN that struck me the most was the power of collective human ambition. In my pursuit to explore scale, interconnectivity and humanity’s place in that spectrum, visiting CERN was a valuable opportunity to see humankind at its most inventive, curious and expansive.  Learning about CERN’s colossal experiments and their invention of the World Wide Web was a great contribution to my research.

I am hugely grateful to Andy for having organised this trip as well as to Michael & team for the incredibly warm welcome and thorough insight into CERN. I’m also really grateful to Helen who was not only very inspiring, but very generous with her advice and time. It was a fantastic privilege to be there and to be invited to get involved in art@CMS. 

Last but not least, I loved every moment of spending time with our wonderful group as well as getting to know our Vienna fellows.

Hannah Pratt

CERN is an incredible place, not just in location but the also the whole spirit of collaboration to make the world better though science. As an artist I am excited to be able to access and interact with the scientists and engage with the wide range of research happening at CERN. 

Catherine Herbert

What I loved about CERN – and what represents how I now understand particle physics (and science in general), was the cloud chamber workshop because it made otherwise invisible particles – visible. Something else that’s emblematic – for me – of science, is that the existence of dark matter is only apparent because of how other matter behaves. Likewise, the Higgs Boson is proven indirectly because two photons are predicted to be what it decays into. Overall, CERN seems to be about being both thorough and uncertain at the same time. as the undetectable appears to appear in highly contrived experiments.

Diane Wingate

My recent trip to CERN has taught me a lot about the fundamental ideals behind scientific experimentation. The concept that it is acceptable not to know why we do something and the significance of it, combined with the belief that to move forward in technology and life it is not enough to simply perfect the things we know, we need to explore what we don’t know.

Lois Bentley

Here you have my highlights, plus some words about TATE. The latter is in response to Michael asking for “Ideas generated by the visit and artworks/exhibitions that happen as a result”

My highlights are:

  • The proportional scale: For example 3 mg of Hydrogen gas provide the raw material for, (was it) a year of experimentation. Tiny particles blasted around within giant machines(accelerators). A tiny amount of matter, yet a massive amount of electricity to power the 72MW “Total Energy CERN” was showing on a control monitor
  • The scale and construction of the detectors -vibrant colours and tessellated pattern of symmetry in construction
  • The way the words sound – Cyclo Synchrotron, Scintillator ALICE A Large Ion Collider Experiment, Compact Muon Solenoid. Immediately playful onomatopoeia.

Within one day of returning – we collaborated to create an exhibition at one of Europe’s most prestigious art galleries, Tate Modern. The exhibition was in the Tate Exchange space, where artists show their work in order to exchange ideas with the public. 

We used schoolroom technical aesthetic of blackboard – filled it with photographs, formuli, diagrams and a large question mark. We wrote an open letter to the public “To Whom It May Con-CERN” and invited their response. We generated public engagement works including a radiation wall made of lead, 3D printed plastic and constructed in wood. We created a large scale floor map of CERN’s experiments and major accelerators and detectors.

Where will this lead? … All the students are invited back to CERN for more in depth research or to explore newly inspired creative ideas. MAAS graduate Helen Cawley met up with the students at CERN. She made the same journey two years previous and has now been working along side scientists and researchers on the CLOUD project for approximately the last 3 months. 

Changing expectations of art and science with the Royal Society

The Museum of Extraordinary Objects

How artists from MA Art and Science created a museum from the future to help the Royal Society shape the UK’s research culture.

Imagine a Museum from 2035 in which all the exhibits reflect key moments in the history of UK science culture over the previous 20 years.  That’s exactly what artists from the MA Art and Science did when the Royal Society invited them to design an approach to help the Royal Society bring alive their consultation with scientists across the country.  Research culture is an umbrella term which includes everything a researcher does that isn’t research, including issues around collaboration, research integrity, career paths and publishing. The Society aims to embed a culture of research that will support the science community and the scientific endeavour looking forward to 2035.  The challenge was to help scientists quickly understand the key themes of the consultation as well as to help transport them away from their immediate concerns about their everyday experiences towards thinking creatively about alternative future scenarios.

And so the Museum of Extraordinary Objects was born.  Curated by Julie Light, and involving eleven artists from the MA Art and Science in creating artwork. seven objects from the future were designed and made, each of which focused on a specific element of future research culture and was designed to be used at workshops to stimulate conversation and ideas about the relevant themes.  A museum catalogue completed the picture, outlining the provenance of each object.

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The Museum first went on show at the launch of the Royal Society’s Changing Expectations project in June 2017, and then spent the next 4 months touring the country, visiting 20 events in 15 locations and leading to interactions with over 1000 individuals from academia, government, industry and professional research services.  The Royal Society have since created an Open Access Workshop that can be used by any organisation or scientist wanting to be part of the shaping of science research culture, anywhere in the world.

You can read the Museum Catalogue here:  

The Museum has its own page on the Royal Society website here:

More details of the making of the Museum can be found at the Royal Society’s In Verba blog here:

Details of the Royal Society’s Visions of 2035 Open Access Workshops using the Museum pieces are here:

The Royal Society report on the Changing Expectations consultations and featuring the artwork from the Museum can be downloaded here:


Changing Expectations of Art and Science

Building on the success of the Museum, the Royal Society invited artists from the MA Art and Science to create a show to complement the TEDx Whitehall 2018 held at the Royal Society in January 2017.  Stephen Bennett and Julie Light curated work from seven artists, with each piece reflecting a different perspective on the changing relationship between art and science.   

Artworks included Hannah Pratt’s Chaos Dice, which could create a potential framework to design the parameters for scientists to conduct their research, Bekk Wells’ Elements, representing the type of hapticity and spatial reasoning introduced through the use of molecular models and Where Are You From? by Stephen Bennett, comprising data collected  in response to that question, and reflecting a fluid sense of roots as well as addressing the increasingly interdisciplinary nature of science.  

Other pieces were Becky Lyons’ New Earth Object Research, Helen Cawley’s The Missing Chapter, which was displayed alongside a first edition of Charles Darwin’s related original text,  Julie Light’s Breathless and Jill Mueller’s We Are All Made of Stars: Matters of Scale (Box Set).

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The Biodesign Challenge

The task… BioDesign Challenge.

The brief… Biodesign in the Anthropocene.

The timeframe… 8 weeks to come up with a project that interrogates the value and pertinence of biodesign in the context of the Anthropocene. Seven MA Art & Science students joined the MA Material Futures studio. They paired up and got to work. This project was the first collaboration between MA Material Futures and MA Art and Science.

Liv Bargman (MA Art & Science) paired up with Nina Cutler (MA Material Futures) and together they developed The Quantworm Mine. 

Here Liv reports on their process and the unexpected outcomes.

We had an intense 8 weeks of collaborating, experimenting, testing. After some initial conversations, Nina and I discovered we had common interests and common ground – specifically soil and its polluted state. Professor Carole Collet facilitated the project, and the crits were really helpful and rigourous. It was great to be working in such a stimulating and busy environment in the MA Material Futures studio, amongst some really great designers, thinkers and makers. 

Our project, The Quantworm Mine, explores interspecies collaboration and the biodiversity of soil. Researching the power of earthworms to bioremediate contaminated soil in post-industrial sites, the two devised potential systems to harness this particular process. 

In our first weeks of the project, we were introduced to the fast emerging and alternative fields of Biodesign and synthetic biology. With visits from Bento Lab at Central Saint Martins – we also visited Imperial college’s synthetic biology lab, run by Dr Tom Ellis.

Our MA Art and Science course leader, Heather Barnett, ran a workshop with slime mould encouraging us to collaborate and work with living systems.


Visit from Bento lab to the Material Futures Studio.


Workshop: extracting DNA from a banana. 


In February, we visited a disused mine in South Wales and began to piece together Quantworm Industries System, where mining communities could be recast as quantum dot farms in which worms convert toxic ground into useful material. Current quantum dot production uses raw toxic materials and is not particularly sustainable; our project proposed a more natural production line, which also reverses damage done to the ground through decades of heavy industry.


Stevie the coal miner, explained to us the community spirit and comradery still felt from the mining industry.

The big pit coal mine, Blaenavon.

Within our proposition, eating the heavy metals on the ground the worms become biological producers of quantum dots, a material used in nano-technology for photo-voltaic cells. We discovered this research from a paper in Nature, by professor Mark Green at Kings College London. (Article by Wellcome Trust).

We had a final presentation of our projects. The work from the other teams were incredible. But only one team could go and we were chosen to represent Central Saint Martins. 


In June 2017, we presented BioDesign Challenge Summit, at MoMA, amongst over 20 other international teams and about 27 judges. The projects were wide ranging in their approach: some were more solution/ product based; a handful were in the critical design camp. 


Liv Bargman and Nina Cutler presenting their project at BioDesign Challenge Summit at MOMA, New York

We were announced as the winners and took home a trophy by artist, Luke Jerram.  See the list of all the winning projects here.


Towards the end of the year, another opportunity arose for us to go to NY again. We were invited to speak at Biofabricate in December 2017 at New Lab, Brooklyn – an annual summit for the emerging world of grown materials.


Last week at CSM was Green Week, hosted by Plural Futures. Our project is displayed in the big windows until the end of February. We even have some quantum dots on display, kindly donated from Professor Mark Green’s lab at Kings College London.  

And finally, our project will be in a new edition of Bio Design: Nature, Science, Creativity by William Myers, published by Thames & Hudson, out later in 2018.

———————————- ——————————— ———-
In my final thoughts on the project; I think the collaboration was fruitful. I hope that more of these collaborations happen with Material Futures. MA Art and Science attracts students with skills not just in the fine arts, and I think the course lends itself to projects like these.
The Biodesign project was a fast paced one, and I will be able to apply the rapid prototyping and storytelling to workplaces after I graduate in industry. Illustration is a good core skillset for visualising speculative and critical design, I’m sure to do a PhD in further exploring these connections. 
Nina and I are already working together again as part of UAL Futures Studio. In March, we’ll present a project on conscious networks, at an alternative UN summit on alternative narratives to emerging technologies; the environment and building local communities being in sharp focus. 


More about Plural Futures UAL Green Week 

More info on our project can be found via these links:

Article – written by Teleri Lloyd Jones

Nina Cutler’s work 

Liv Bargman’s work



Work from MA Art and Science recently published in Interalia Magazine

Interalia Magazine is an online platform dedicated to the interactions between the arts, sciences and consciousness. Several staff, students and graduates from MA Art and Science have published work in the interdisciplinary magazine in the three years since it began. 

Recent publications include two contributions for Emerging Ideas from current students, Stephen Bennett and Tere Chad

Stephen’s article, available here, considers the role that art can play in the gap between science and public decision-making. Data visualisation and maps are central to his analysis, as evidenced by recent works such as Data stained glass showing projected impact of climate change on Middle East, and Transparent data maps, Bristol Channel (both pictured). Stephen’s work is particularly relevant to this month’s edition of Interalia magazine which is entitled Earth, and explores the Arts and Sciences relating to Climate Change, Ecology and Ecosystems, Geology, Soil Culture, and the Anthropocene Era.

Data stained glass showing projected impact of climate change on Middle East (stained glass, chalk, light). Data originally sourced from http://www.climatewizard.org

Stephen Bennett (2017) Data stained glass showing projected impact of climate change on Middle East (stained glass, chalk, light). Data originally sourced from http://www.climatewizard.org

Transparent data maps, Bristol Channel (glass paint on glass, wooden stand)

Stephen Bennett (2016) Transparent data maps, Bristol Channel (glass paint on glass, wooden stand)

In the February 2017 issue, Tere Chad was the subject of an article relating to Fusion – Haka Piri. The article, available here, describes Tere Chad’s goldsmith collection which has been inspired by Easter Island archaeology and culture. Examples of Tere Chad’s jewellery are pictured below.

Fusion - Haka Piri

Tere Chad (2016) Fusion – Haka Piri

Fusion- Haka Piri

Tere Chad (2016) Fusion- Haka Piri

Future editions of Interalia magazine involving MA Art and Science include the September 2017 issue which will be co-edited by Heather Barnett (Pathway Leader for MA Art and Science). The issue, The Subjective Lives of Others, will bring together essays and art works exploring nonhuman subjectivity and collective behaviour.

Tracing Wastelands Exhibition

The exhibition ‘Tracing Wastelands’ at The Depot in Clapton celebrated the work that students on MA Art and Science at Central Saint Martins produced in collaboration with the Government Office of Science. 

Text by Ellie Armstrong

Not one to turn down a novel set of collaborators, students on the MA Art and Science course enthusiastically greeted the chance to work with the Government Office of Science on their Annual Report. Every year the Government Office of Science call on experts to work on an overarching, scientific issue that will impact on cross-party policy. Previously the reports have addressed Forensics and Risks in Innovation.

For 2016 the report focused on Waste and Resource Productivity. A small group of students on the course embarked on the collaborative enterprise. The groups’ individual practices already touched on waste and it’s impacts, so from the first strong harmonies were found between our work and the research areas that the Government Office of Science were planning on researching for their report. After initial introductory meetings with Fay Kenworthy and Mike Edbury to cover the scope of their project we were invited to a kick off meeting at the Government Office of Science, where we were introduced to a long list of researchers who might be involved in the report. The conference covered a diversity of themes, which we each took notes on at our tables, which fed into Julius’ later work. Over the course of the year, we met up with Fay and Ian, discussed our individual projects and progress and worked to understand what was being researched for the report. Initially the report was scheduled to be released in November, and as we worked towards this date, we found a venue to host an exhibition of works produced in the Wastelands collaboration.

We were fortunate to be able to use The Depot Clapton for the exhibition, which was an intimate setting for the six artists exhibiting. As co-curator, I was excited that the works were able to feed into a narrative that looped around the gallery space. The cross-referencing between the works was incredibly interesting as a spectator and brought the idea of the Waste Cycle that the report had been discussing into heightened relief. The report’s release was unfortunately delayed, but it has given us all time to reflect on the works produced and on the direction of the collaboration as a whole. It’s hoped that we’ll be able to host another exhibition of the works in London detailing the progress and continued critique of ideas around waste, and that eventually we’ll be able to take the works around the country to the institutions that contributed to the Government Office of Science report to highlight the research work publically in their own community.

Exhibiting artists were Julius Colwyn | Silvia Krupinska | Beckie Leach | Hannah Scott | Stephanie Wong | Jennifer Crouch

Tracing Wastelands was curated by Ellie Armstrong and Julius Colwyn and was shown at The Depot, London, 18-20 November 2016.

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