Echoes from the Dreamtime
Discover a body of hand crafted, printed works that reflect our chance interactions with genetics
Untitled: (Fuzzy Logic Series). (21st Century) by Brian VoceUniversity of Lincoln: College of Arts, Social Sciences and Humanities
Biotechnology, enables us to alter human genomes, and to modify organisms (GMO), processes reliant on the creation of new chimeras (chance, unforeseen outcomes). Emulating this unpredictability, this experimental work positions ‘chance’ at the centre of its artistic production.
Gene editing is enabling scientists to change an organism’s DNA by adding, removing, or altering genetic material at particular locations in the human genome. While these technologies are still in their formative stages, they shown promise for various applications. For example, knowing the genes of a fetus, prior to conception, could allow for editing that could prevent genetically inherited diseases.
Genetic modification of organisms (GMO) is also enabling scientists to bio-remediate, develop bio-pesticides to biocontrol plant diseases, enhance nitrogen fixation and plant growth promotion.
Untitled 2. (Fuzzy Logic Series). (21st Century) by Brian VoceUniversity of Lincoln: College of Arts, Social Sciences and Humanities
In emulating scientific unpredictability, much of this work (the Bad Seed, and Fuzzy Logic series in particular) produced using oils, acrylics, Giclee and Intaglio printing, is not reliant on a predetermined outcome.
Resonations.(Fuzzy Logic Series). (21st Century) by Brian VoceUniversity of Lincoln: College of Arts, Social Sciences and Humanities
Instead, each piece is the result of 'chance' - by embracing the unknown and through small iterative, incremental changes made during the design and making process. This often leads to alternative solutions and new unforeseen directions.
Thus the title, Echoes from the Dreamtime aims to reflect the dreamlike state with which humans approach biological intervention and experimentation.
The Bad Seed Series
The work is neither pro or anti genetic modification, seeing the benefits of genetic modification especially with regard to improving human health.
Untitled no3. (Bad Seed Series). (21st Century) by Brian VoceUniversity of Lincoln: College of Arts, Social Sciences and Humanities
Much of the work employs visual devices that interlink, overlap and intersect symbolising inter-species transgenic modifications (animal-human, animal-plant) thus pointing to the ethical, moral and ecological questions these raise.
Untitled no7. (Bad Seed Series). (21st Century) by Brian VoceUniversity of Lincoln: College of Arts, Social Sciences and Humanities
Some solutions are left unresolved speaking to concerns about the consequences of these interventions
Untitled no2. (Bad Seed Series). (21st Century) by Brian VoceUniversity of Lincoln: College of Arts, Social Sciences and Humanities
Like genetic modification the work explores (through the process of making) the tensions that emerge between structured and the chaotic systems where chance and accident play a part in determining the outcome.
The work takes the circle as a trope, a metaphor for the ‘perfect’ seed (a genetically engineered ‘Pandora’s Box’).
Untitled no1. (Bad Seed Series). (21st Century) by Brian VoceUniversity of Lincoln: College of Arts, Social Sciences and Humanities
It explores the way very simple geometric systems, based on manipulating circular repeats, may combine unexpectedly to produce complex and unexpected outcomes through alignments of overlapping geometries creating images that evoke ideas of ‘new and imagined’ flora and fauna.
The Fuzzy Logic Series
Naturally one piece of work suggests another and so a body of work emerges as a series of iterations around an initial idea or theme.
It’s only when looking over previous work that deeper underlying motivations become clearer.
Untitled 2. (Fuzzy Logic Series). (21st Century) by Brian VoceUniversity of Lincoln: College of Arts, Social Sciences and Humanities
Remaining reliant on the sub-conscious, a labyrinth of routes to an outcome, emerge in the work.
Resonations.(Fuzzy Logic Series). (21st Century) by Brian VoceUniversity of Lincoln: College of Arts, Social Sciences and Humanities
The design process has no intended outcome, much like the parallel paradox that is genetic modification - unplanned chance - unpredictable.
An outcome is an inevitably, yet never quite what was anticipated as the work always takes on a life of its own. Instead, its an instinctive process - the work dictates the eventual outcome.
Untitled: (Fuzzy Logic Series). (21st Century) by Brian VoceUniversity of Lincoln: College of Arts, Social Sciences and Humanities
The work offers catharsis, a means to confront internalised moral dilemmas, to release the ‘pictures in the minds eye, prompted by things seen, read about or encountered - landscapes, maps, grids, archaeology, repetition, science, nature, decay, the urban environment, and the media itself.
Technological tinkering
There are always avenues left unexplored and these inevitably lead to alternative solutions and/or new directions.
Cloud (21st Century) by Brian VoceUniversity of Lincoln: College of Arts, Social Sciences and Humanities
Slippage (21st Century) by Brian VoceUniversity of Lincoln: College of Arts, Social Sciences and Humanities
Lepídostra 2. (21st Century) by Brian VoceUniversity of Lincoln: College of Arts, Social Sciences and Humanities
Carefully planned in the initial stages, with geometric elements accurately established, the structure becomes obscured, expressive, instinctive with each design iteration.
Lepídostra 6. (21st Century) by Brian VoceUniversity of Lincoln: College of Arts, Social Sciences and Humanities
Brian Voce
Senior Lecturer | Graphic Design Programme | School of Design
This work is the result of a cathartic and iterative creative process , which aims to explore and resolve ideas aimed at releasing the ‘pictures in my head’ prompted by things I have seen, read about or encountered in the world around me. Inspiration comes from many sources: landscape, maps, grids, archaeology, repetition, science, nature, decay, and the urban environment, and the media itself. Whatever form the inspiration takes through a sketchbook or digital development process. The latter, allowing for the quick and precise manipulation of complex patterns. Working through ideas and exploring the labyrinth of routes to an outcome is what makes the process interesting and excites me. I guess if I knew what the answer was before I began I’d be less interested in starting the journey.
Email: bvoce@lincoln.ac.uk
