Page 26 - Antennae Issue #52

When I I told them that I I wanted to weave the root system un- derground they had little faith in it but because my enthusi- asm and my earlier work con- vinced them I was allowed to join them in in the the greenhouses DSa: Can you you describe how your work work Exercises in in in Root System Domestication first began and what the key factors were in in in deciding to to work work this way?
DSh: In the beginning I I I I worked with nature nature in in in in in different ways For example I I I I started to to to to collect collect and and photograph plants Also I I I I I found it it it it especially exciting to to to to bring nature nature and and its phenomena into my my studio studio At one point I I had a a a a a a a a a whole collection of molehills in my studio The rootbound image a a a a a a a a a a a a plant that had grown in in in in a a a a a a a a a a a a pot for for a a a a a a a a a a a a very long long period re- mained for for a a a a a a a a a a a a a a a a a long long time in in in in in my my my mind and and on on on on on on a a a a a a a a a a a a a a a a a photograph on on on on on on my my my studio wall At one point I I I started to to work with with this image and and and and filled my my my vase collection which I I I collect- ed ed ed ed ed ed for for many years with with soil and and and seeds I I I I nurtured the the the the plants for for three month and and and then broke the the the the the the the vases The root root system has taken over the the the the the the the shapes I I I photographed the the the the the the plant with the the the the the the root root root ball in in in the the the the the the shape shape of a a a a a a a a a a a a a a a vase vase It all all happened very intuitively but in in in in this this this period I I I learned a a a a a a a a a a a a a a lot about roots After this this this project Nurture Studies 2012 (book published by van Zoetendaal publishers) I I carried on exploring this this this burried matter After a a a a a a a period of research I I I had the the the idea to to weave the the the root system For this I I I contacted science in in 2016 I I I I I started to to study the the the the below ground processes in in cooper- ation with experts at at Radboud University Nijmegen In In In this period I I I I I developed the the the new technique Interwoven Interwoven to to control the the the the the growth of of plant roots With Interwoven Interwoven the the the the the the natural network of of the the the the the the system turns into a a a a a a a a a a a textile During the the the the the the growing process the the the the the roots assimilate to to underground templates and weaves the the the the the material itself DSa: How has working across disciplines impacted upon the the ways you you think about and construct your own artistic identity in in in in work work such as as the the new exhibition Hyper Rhizome?
DSh: The collaboration has inspired me me ta ta ta lot In particular I I I contacted biologists from the the Radboud University Nijmegen to to expand my botanical knowledge It was a a a a a a a a a a a a a a a a a a a very practical approach Mainly I I wanted to to know know know more about the the the world of roots Radboud University was known for its specialists and they had just set up an an an entire root lab lab This collaboration satisfied my curiosity to to to a a a a a a a a a a a a a a a a a a a a a certain extent In addition to to to the research I I I have have seen a a a a a a a a a a a a a a a a a a a a a a a a a lot that that that it it it has has inspired me me to to to new ideas My role as as as as an an an artist has has not changed except that that that I I have have become aware that that that my work can be be be a a a a a a a a a a a a a a a a a a a a a a link between science and society as as kind of translator I also found it interesting to to to see that that my open-mindedness and and and unscientific ap- proach can help me to to to to take steps that that that science has long regarded as as impossible and and excluded in in advance For example when I I told them that that I I wanted to to to weave the the the root system underground they had little faith in in in in in it it it but because my my enthusiasm and my my earlier work convinced them them I was allowed to join them them in in in in the the the the greenhouses DSa: I am am interested in in in in in your partnership with biologists and engineers in in in in in the the the Mate- rials Experience Lab especially as a a a a a a a a a a a a a a a a a cross-disciplinary act even the the the name of the the the lab suggests a a a a a a a a a a a a a a a a a a a a conscious move to create epistemic border-crossings Can you describe how this space provokes and/or facilitates new relationships around art art and and sci- ence? Has it it changed your practice as as an an an artist?
I I contacted the the Material Experience Lab because of of their research in in in in ‘Growing Mate- rial’ Two Master students graduated last year on on my project Interwoven (master of of science) with the the the assignment to to develop the the the material more solid and into 3d Diana Scherer
Hyper Rhizome # 2 2 2019 Photography Fine
art print 150 x 100 cm © Diana Scherer
DSh: In addition to to to my autonomous work I I also started an an innovative material material re- search My goal in in in in in the the coming period is to to to to develop the the bio-manufactured material material material from plant roots into a a a a a a a a a a a a a a a a sustainable and applicable material 26 antennae
That was was a a a a a a a a a a a a a a a a a a new new experience for me me as as as as an an an artist I was was curious about the the the scientific approach in in addition to to my intuitive research A textile of plant roots is is a a a a a a a a a a a a a a a a a a a a a a a a a a new new mate- rial rial and has never been used for a a a a a a a a a a a a a a a a a a material application I see it it it as as a a a a a a a a a a a a a a a a a a challenge to to