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Email: anattomyforlife@live..com Website: www w.anatomyforlive..com
Artis A st’s sstatemeentss “M Minds of tthe Artists; Wisdom m from the Healerss; Tales of the Patieents”
Prreface It is thanks to aall the kind support and ccontribution s from artistts all over the e world that has made th his charity arrt exh hibition posssible. This bo ooklet contaiins the descrriptions provvided by the artists aboutt their artwo ork, correspo onding to the number assigned to each piece o of artwork. Through their aartwork, thee wonders of the human body can be told through an array off colours, sha apes and texxtures, to remind each h one of us th he important anatomy w we all contain n but have ta aken for grannted for so m many years o of health. We e hope that tthe artwork donated from so many ddifferent placces around the world cann highlight th he importance of orggan donation n to everyon ne, regardlesss of boarder s, ethnicity, age and race e. Beneath oour outward a appearance,, our anatomy is esssentially the ssame, shared d by each huuman being. It is down to o you to stepp back, and h have a think aabout hat you wish to do with yyour organs b before life faades. Will you take this opportunity tto help some eone else livee on? wh Drr Conrad Leee An nd Anatomy For Life Team m 2
Email: anatomyforlife@live.com Website: www.anatomyforlive.com
ACKNOW WLEDG GEMENT Ou ur Teams:
Brighton and Sussex Med dical School Dr Conrad Lee D e Dr Sophie Rin D toul‐Hoad ira Dr Irina Ferre D ersen Dr Saskia Ped D Dr Grace Li D Lu uke Farmeryy So ophia Modicc Pavan Wilder Stteph Ekins
Live Liffe Then Give Life Matt Cooyne Mandy Venters Tessa
Nuffield Heal N lth Sarah Price Sophie Rodgeer
Special thankss to Maayumi Ogihara (Artist of “Hand Anato omy” cover) Dr Michael Geo orge Traacy Cuff Maary Gray
OUR SPPONSOR RS
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Email: ana atomyforlife@livee.com Website: www w.anatomyforlivee.com
OUR SU UPPORT TERS In addition to o our wonderful sponsors, we would likke to offer our sincere th hanks to all tthe supporte ers of Anatom my For Life e charity eveent. This includes all the vvolunteers w who have offfered their time to help uus during ourr week of events, to spread the w word about o organ donatiion, and to r aise as much h money as p possible for oour charity. A And of coursse, we on and auction. Without t their genero osity we wou uld thaank all the arrtists who haave donated artwork for our exhibitio not be able to make this evvent happen.
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Email: anatomyforlife@livee.com Website: www w.anatomyforlivee.com
ARTIST STATEM MENTS o: 1 – 3 No Part of the onggoing body of work that integrates m my own drawings, historiccal anatomiccal illustration, mapping, and nguage as an n exploration n of the displacement of sself. Particularly interested in postcaards as an artt form due to o their lan staatus as moveeable / publicc artworks (a as they traveel through mail). The pho oto transfer pprocess I use ed layers seriies of images / text resulting in a unique artw work each tim me.
No o: 4‐5 Surrounded byy images and text that co ontinually im press upon u us the need tto remain yoouthful, slim,, firm and nu ubile, the e pressure on women (an nd men) today are immeense. Ageing brings with it an awarenness of our te enuous hold on life e and looks, aand an ever‐‐present pressure to rem main young and desirable e. Visual and textual reco ords formed tthe basis of (my) M MA research, questioningg people's atttitudes to their own, and d others, skinn. From the liminal passaage of nteraction wiith the world d through its touch, skin is intriguing, mystifying aand sensual. We all havee skin, Laccan to our in and it mostly reemains hidden from view w, even a na ked body cannot be seen n as a whole . (My) work reflects thesse pre eoccupations with matteers of flesh, a and focuses uupon the rep presentation n of skin and flesh in pain nting. Primarily wo orking in oils on paper, th he visceral an nd material qqualities are the ideal me edium for deepicting skin,, but through h the ressearch proceess a broaderr application of scanned images and watercolourrs have evolvved, and an interesting dicchotomy hass emerged beetween the ttraditional annd the obsce ene. Her pracctice aims too create a ten nsion betweeen the abjject and the sublime, atttraction and repulsion annd questions our individu ual interactioon with the w world.
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No o: 6 Wh hen I was a ttransplant su urgeon, I felt like the reapper harvestin ng kidneys ‐ but then savved a life tran nsplanting it!
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No o: 7‐8 No o description
No o: 9 ‘Ecclectic Brain’ ‐ The brain is the most ccomplex orgaan ‐ in the caase of mine ‐‐ Filled with eeclectic imagges and mem mories, collected over the years. Definitely more right thann left.
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No o: 10 ‘Stomach Achee’ ‐ Juxtaposing contemporary imagess with an anttique medica al illustrationn is how I intterpret gastric disstress creativvely.
No o: 11 I drew this piecce of artworkk in rememb brance of myy donor. I kno ow my donor was a younng boy and I think of him often ‐ about his life being cut sh hort too soon n. I am ever sso grateful to o his family ffor deciding tto let his orggans be used d esp pecially at a time when ttheir lives we ere in turmoiil, they could d still think of others. Aftter 4 years off dialysis I am m now fre ee of this and d being hookked up to a m machine to sttay alive. Myy drawing is a a heart with 2 kidneys inside and kidneys alsso feature on n the outsidee of this painting. I placedd the kidney inside the vital organ, thhe heart, to e emphasise w when one organ is afffected, the w whole body iis! (i.e. kidneey affected ‐ high blood p pressure andd heart affectted)
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No o: 12 ‘An n eye for an eye for an eyye’
No o: 13 ‘De em bones, deem bones, dem dry bone es’
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No o: 14 ‘Prrayer 4 Blood d’ ‐ without o organ donatiion, the churrch choirs wo ould be tune eless
No o: 15 ‘Re ed Alert’ ‐ wiithout organ donation, th he church chhoirs would b be tuneless
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No o: 16 ‘He eart in bell jaar’
No o: 17 ‘Kidney scales’
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No o: 18 ‘Livver grabber’
No o: 19 ‘Bladder mishaaps’
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No o: 20 ‘Gllaucopsyche Pneumoniaee’ ‐ 4x6", han ndcut on cardd with repeaated lung silh houettes. Glaaucopyshe, ccommonly caalled Blu ues, is a genu us of butterfly. One enda angered subsspecies, Glau ucopsyche lygdamus paloosverdesensis native in California, is co onsidered on ne of the rare est types in tthe world. Ass a metaphor to lung trannsplant, find ding a match can be an extremely difficult jo ourney. The n new lungs reeceived enab ble one to find life again, in the outdo oors... free, liike a butterfly.
No o: 21 ‘Plebejus Pneum moniae’ ‐ 4xx6", handcut on card withh repeated lu ung silhouetttes. Plebejuss, latin derive ed from "com mmon people", is a geenus of butteerfly. I wante ed to highlighht that everyyone has a pair of lungs, although common, the constant lack o of donors maakes this a ra arity.
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No o: 22 4"xx6" ‐ mixed m media collagge. The Heartt represents the importance of mainttaining our vvital organs to provide ou ur bodies with thee power to sstay alive.
o: 23 No 4"xx6" ‐ mixed m media collagge. The ear is a subtle meetaphor urgin ng people’s a awareness toowards organ donation.
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No o: 24 I ch hose differen nt organs and associated d an idea to eeach one, a ffeeling as witth ex votos. TThe heart is associated tto Lovve but also to all that goees along with h it: Jealousyy, failure, bettrayal. The stomach is annger, action. The brain is the imaginary. Thee lungs, the n need for free edom.
No o: 25 ‘He eart String’ ‐ watercolour, pen, penciil.
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No o: 26 ‐ 33 Captivated by tthe body and d his comple exity. In 20011, I began a sseries named d "Anatomy" . Today I havve 20 plates. My objective is to make 78 plates as tarot a and print theem like a carrds game. I'm m proud to giive Anatomyy For Life 8 off the em! ‐ 26: ‘Myy Heart for aa Song’ ‐ 27: ‘Myy Heart need ds your breath’ ‐ 28: ‘Heeart and Soul’ ‐ 29: ‘Haappy Bird Day!’ ‐ 30: ‘Th he Fish Tank In My Head’ ‐ 31: ‘Wet Dream’ ‐ 32: ‘We Better Fly’ ‐ 33: ‘Th he Fall’
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No o: 34 ‘Lu ung, trachea,, aorta’
No o: 35 ‐ 36 This concept sttemmed from m a desire to o address orggan donation n directly as well as the ggeneral them me of anatom my, but maainly from th he restriction n of the mediia and materrials available!
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Email: anatomyforlife@live.com Website: www w.anatomyforlive.com
No o: 37 I co ouldn’t decid de if I wanted to draw the outer or innner heart, so I combined d the two likke gross anattomical nesting dolls!
No o: 38 A sstudy of lunggs from my ‘TThe Romantiic Disease’ P roject.
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No o: 39 Posterior view of the heartt showing coronary vesseels
No o: 40 ‘No o! It’s not an n embryo’
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No o: 41 ‘No o! It’s not a ggiraffe’
No o: 42 Intterior view of ribs, costal cartilages, ssternum and intercostal m muscles
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No o: 43 ‘Blue Dawn’
No o: 44 ‘Illuminated Skkull’ ‐ pen on paper
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No o: 45 ‘Ad dult Mandiblle’ ‐ Pen on p paper
o: 46 No ‘Ce ervical Vertebrae’ ‐ Pen o on paper
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No o: 47 Female reproductive tract with right ovvary replacedd by a bloom ming flower a and an organn (Heart) com ming out of th he birrth canal. Thiis painting / pop up art represents hoow you are ""giving birth to new life" by donating an organ.
No o: 48 ‘Se earching for aa heart of co opper’ ‐ woodcut on linolleum printed d without inkk and embosssed copper ssheet. 4x6", paper on cardboard aand copper ssheet. ‐ The B Basic white oon white stru ucture of the e work preseents the embossed weft o of artterial system m. Over it I plaaced a metal embossed handmade h heart. I have chosen the ccopper for itts warmth an nd its ability to condu uct electricitty and energyy: a sort of syymbol of life e power. Cop pper is a mettal dear to Jo oseph Beuys exaactly for the same motivations I told and is, of coourse, the maaterial most used by enggravers. i tried to traducee my both passions ffor anatomyy and engraviing in a recoggnisable langguage. Actua ally I use to w work mixing all the materials I find in my labo oratory (metaal, acids, pap per, chemica l agents, etcc...) The heart is "changeaable". Posed over the wh hite surrface, it can be replaced by a new on ne, by a diffe rent one, byy another one e. This is so tto underline the importaance and the efficaccy of transplaantation and donation off organs. (I am first a don nator of bloood and marro ow). No bloo od, no tru uculent vision ns but the raarefied draw of the internnal structure es. I don't wa ant to shock,, I want to let people thin nk about what wee have insidee and to obta ain this, we nneed to clean n the body frrom red visioons.
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No o: 49 I have incorporrated the anatomy of the e heart and bblood vessels to resemble a tree "Arbbour vitae" m meaning "treee of life e", as the heaart is often p portrayed as the essencee of being and life.
No o: 50 Birro drawing ‐ This is a porttrait of my colleague Om mar, with a paartial sagittal section expposing his skull.
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No o: 51 ‘Su urgical Saintss’ series ‐ Diaagnosis offerrs a hand in bblessing
No o: 52 ‘Su urgical Saintss’ series ‐ Surrgery hides h her bloody fi ngers
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No o: 53 ‘Su urgical Saintss’ series ‐ Reccovery holdss out her heaaling hands
No o: 54 De etail from ‘Fo ourth Position’; part of a series of prinnts looking aat anatomical structures underlying d dance and sp port. This particular piece was a test for tran nsferring prinnt images onto porcelain clay for jew wellery piecess.
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No o: 55 ‐ 58 The four piecess I have subm mitted are sa amples of myy medical illu ustration work. They are general anatomy images, cre eated in Adobe Photosho op, and are a aimed at a geeneral audience. (e.g. use e in textbookks, education n)
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Email: anatomyforlife@livee.com Website: www w.anatomyforlivee.com
No o: 59 ‘W Womb’ ‐ This past year, th hrough those e around me I have witne essed both th he joys and l osses that ca an come with pro oducing new w life into thee world. Face ed with just hhow fleeting life can be w within the firrst few moments of creattion and deliverancce I became inspired. Afte er researchinng the many roles and syymbolism natture and a fe emale's rep productive o organs have in various cultures througghout the world and histtory, I createed "Womb". Symbols in this pie ece: The Vulvva has been considered a as the birth‐ process thro oughout the universe, an d one of the e finest imagees of the e eternal fem minine. It's a symbol of se ecret wealthh and hidden knowledge as it takes annd gives. The e Egg is the h holder of seed from w which manifeestation will sspring. A sym mbol of plentty and fertilitty. Milk (motther's milk) iis a lunar sym mbol and predominaately female,, linked to th he renewal oof nature. Liliies are usually images of virginity and d purity but ccan be chaanged into aa symbol thatt evokes unla awful passioon. Due to their ability to fly, Birds aree commonlyy revered as llinks between the heavens and earth, as transporters off the dead fro om the land of the living g to the land of the dead. The Mo oth, in more than one cu ulture, is rega arded as a syymbol of faitthless frivolitty. Attracted to the light of a candle, moths will burn their wings, like m men rushing to their doom m ("Dictionaary of Symbo ols") ‐ Derivedd from the style of Victorian are ea anatomicaal illustration ns, I used a m mixture of grraphite draw wings, watercolour washees and texturres all scanneed and layyered in Adobe Photosho op to produce my final ill ustration.
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No o: 60 ‘Birth’ ‐ Birth reepresents en nduring and confronting a major obsttacle in life a and the eme rgence afterrwards. You aare not the same, b but rather reeborn with m more knowle dge and stre ength then yo ou ever know w you had.
No o: 61 ‘Th he old lady w who lived in aa shoe’ ‐ Insp pired by vintaage children's book illusttration and m my love for a anatomy art, I cre eated my verrsion of The Old Lady Wh ho Lived In A A Shoe"
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No o: 62 ‘Th he Heart of aa Lion’ ‐ We aall have this w within us an d is the greaatest gift we could ever s hare ‐ courage and hopee!!
No o: 63 I began this wo ork by spillingg ink on paper and draw wing what i saaw in the inkblots. The drrawing conta ains the visuaal traadition of scieentific illustrration, but I a approach it ffrom an expe erimental an ngle ‐ raising questions in n place of acccurate rep presentation n. Ultimately,, this series ggrows out off a confusingg mixture of ccuriosity, feaar, mystery, a and beauty surrrounding sccientific reseaarch and pro ogress.
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No o: 64 Go ouache on waatercolour sttock: imaginary autopoieetic form.
No o: 65 I have scoliosiss which is on the cusp of surgical inteervention bad d enough to notice, not bbad enough to operate. SSo I dre ew scoliosis because the brutality of the surgery fascinates m me in this dayy and age, annd leaving it as it is createes a body shape you probably w won't be seeing on a 'reaal woman' ad dvert.
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No o: 66 No o description
No o: 67 ‘Faacial Muscless’ ‐ 4"x6", 5m mm deep. It is said that liffe hangs by aa thread: we e are all effeccted by even nts outside our control. To follow the threaad of a conve ersation, to uuse a pickup p line on som meone, to pulll the strings in a situatio on. The me etaphor of th he thread has always bee en used to reefer to humaan destiny orr to ordinary states. We h have a lot of exaamples from m mythology to technologgy. Arianna, A Arachne, Penelope, from m the Fates w who spin, hold and cut th he thrreads of ordiinary mortals’ destiny, to o the threadss of the worlld wide web.. In these woorks the thread at the sam me tim me an archaicc and a conteemporary idea becomes a medium to interweave e a story aboout art and to reveal images, sce enarios and m messages byy the threadss that embra ce the nails.
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No o: 68 No o description
No o: 69 ‘ X‐ray of my m morning commute’
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No o: 70 ‐ 78 Insspiration for artwork com mes from working at the hospital seeing all different walks of f life.
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No o: 79 ‐ 80 Haandmade nun no‐felt incorporating wool, silk and oother fibres.
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No o: 81 I trried to makee it life‐sized, but it didn’tt quite comppletely fit! Bu ut hopefully iit is engagingg and interessting to see h how bigg the human heart is!
No o: 82 I used pencil an nd pen to draw the lungss then mounnted them to create a mo ore tangible ffeel. I used rribbon and th he gift tagg to illustratee that the lun ngs I received were a giftt of life for w which i will always be trully grateful.
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No o: 83 This piece is a h hand embroidered huma an coccyx thaat I stitched for my debut exhibition last year. It iis titled: Fig 3 3 Coccyx. My cocccyx and I do o not see eye e‐to‐eye. Thiss is one of th he 9 hand em mbroideries tthat I stitche ed last year, eeach pie ece was baseed on a bodyy part that ha as caused mee problems. It was like a self‐portrait t but of my in nsides insteaad of myy outside! Th his piece is on ne of my favourites.
o: 84 No No o description
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No o: 85 Insspired by myy daughter’s illness and m may one day need a lung transplant.
No o: 86 ‘Flaat hand’ ‐ Po osition of han nds and use of glass to trry and symbo olise hope w with light shinning through needed for many desiring organ donation.
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No o: 87 "Re ed Glass" ‐ w wanted to show some of the delicaciees of the stru uctures manyy never see bbut all have!
o: 88 No ‘Caaught in the turn pen’, peencil, ink on paper (15x110cm) 2013 ‐ Whole hearrtedly I give tthis tiny gift for auction. I myyself have beenefited from m a charity like this in a t ime of ill heaalth. I sincere ely hope thiss helps to raiise the necesssary fun nds/visibilityy to the causee to help oth hers.These d rawings by the artist initially take on the graphic quality of m modern me edical, anato omical and bo otanical illustration sugggestive of a dynamic, or a absurd possibbility of conttemporary sccience maanipulating the body in o order to conq quer the orgaanic, and of its drive of the eternal inncombustible e movementt. These dynamicc drawings seeem to fade in and out oof their precission and exactitude, wheereby the disstinctions between o somethingg far more fa ntastical. artt and illustration blur into
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No o: 89 ‘Co omplete calcculation’ pen, pencil, ink on paper (155x10cm) 201 13
o: 90 No Em mbellished medical illustrrations of human anatom my
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No o: 91 This handcut papercutting was originally created onn a slightly laarge scale an nd intended tto be used as an anti‐cutte vallentines image. I HOPE ITT RAISES LOT TS OF FUNDSS AND AWAR RENESS FOR Y YOUR CAUSEE.
No o: 92 ‐ 93 Very simply, a piece of art about compassion, love and life mad de with bodyy organ (skin))
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No o: 94 I have a collecttion of mediccal stuff, whiich I have us ed in my collages. The trransplant hass been a longg process of de‐ construction an nd re‐assembling all aspe ects of our li fe ‐ so this te echnique and format seeemed fitting
No o: 95 I ch hose a simple and bold im mage of the human skeleeton openingg the rib cage to offer itss heart and liife. The them me is continued with h the vessels throughout the border aand symbolss of life in eacch corner. I llove the proccess and effeect of work well witth the subjecct matter. paper cutting aand thought this would w
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No o: 96 No o description given.
No o: 97 ‘Th he Promise’ A Acrylic paint on A6 postccard. ‐ A gift?? Or a threat?
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No o: 98 BA ADGE 'dissectt'
No o: 99 'He eart throb' (w wool stitched d)
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No o: 100 'Brreathe in'
o: 101 No He eart throb (bllack ink printt)
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No o: 102 A rre‐imaging of one of the original 'Gra ay's Anatomyy' Lungs. Gray's is one of the pioneer ing anatomyy textbooks aand has helped tho ousands learn n anatomy, h hopefully be nefitting many people th hrough the trraining of futture surgeon ns.
No o: 103 I ke eep a migraine diary and d this drawing is part of tthat I would ccall it 'IT HUR RTS'
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No o: 104 ‐ 105 I h have chose to o make my p pieces as brigght and bold as possible in hopes to rraise funds fo for transplant research to o help red duce transplant rejection ns and give recipients a bbrighter future. ‐ 104 : ““Dialysis ‐ 105: “SSquares”
No o: 106 A tthrowback to o my senior eexhibition in 2004
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No o: 107 ‘Brrainz’
No o: 108 'Sh hades of grayy' ‐ working ffrom medical diagrams, llines were sccratched into o the card beefore being h highlighted b by rub bbing across the surface with shoe polish. Colourr was then ad dded with w watercolour bbefore havingg acrylic scraaped acrross the imagge.
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No o: 109 This painting iss of my daughters plasterr mould of h er teeth (she e’s 22 now). I think they are beautifu ul, can't stop draawing plasteer moulds now.
o: 110 No 'En ntirely alive' ‐ A photograaph taken of a cross sectiion of kidneyy tissue at 7 days of decoomposition xx100. stained d with haematoxylin aand Eosin an nd photograp phed using a n olympus Bx51 system m microscope aand cell F im maging softwaare for bio ological scien nces. it illustrrates that the body remaains almost e entirely alive after death is definitive.
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No o: 111 ‐ 114 These are smaller adaptations of largerr pieces that investigated d genetic line eage, heritagge, and identtity (or non ide entity).
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No o: 115 I have always h had a fascinaation with an natomy and ffleshy bits an nd bods. I spent most of my time, during my A levvels, in tthe science d department dissecting, d drawing and painting bitss and pieces! So this artw work has brought back scchool me emories and of course fo or such a grea at cause, andd in beautifu ul Brighton to oo!
No o: 116 ‘He eart’
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No o: 117 ‘Lu ungs’
No o: 118 ‘Livver’
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No o: 119 ‘Kidney’
No o: 120 ‘Th he kidney plaant’: Your kid dneys relieve e the body off toxic waste e, they 'clean n' your body in a way, jusst like plants and tre ees which breeathe in toxiic gases them mselves to giive us fresh aair to breathe. The plant is a kidney b bean plant an nd thaat makes natture more beeautiful.
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No o: 121 ‘Th he globe and d the eye’: eyyes are such an importannt part of life, they let us see the worrld, that’s wh hy I drew thee eye, faccing the glob be. Donating eyes, to som meone is like donating the world to th hem.
No o: 122 The picture is aa human heaart with a baby inside. Thhe heart is a symbol for lo ove and life. Therefore th he baby whicch is insside the hearrt will be loveed and is also an importaant part of so omeone’s life.
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No o: 123 Insspired by Forrnasetti's paiintings of Lin na Cavalieri
o: 124 No Insspired by And dy Warhol's Marilyn Mon nroe
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No o: 125 ‐ 136 No o descriptions
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No o: 137 A small donatiion, so that w we can save lives.
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No o: 138 "Don’t close yo our eyes, don n’t hide, your decision coould save live es"
No o: 139 ‐ 162 No o descriptions
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No o: 163 'Eyye see the wo orld' ‐ focusees on the eye e a crucial orrgan enablingg us to see the world. Coorneal donation is a wond derful gift of vision to o patients with sight loss
o: 164 No ‘An natomy of kiss’ ‐ highligh hts the anato omy of facial nerve which h innervates muscles of tthe face enab bling us to exxhibit em motions, smile and kiss.
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No o: 165 Stu udy sketch of the knee. TThis was draw wn up again and used in an anatomiccal text bookk.
o: 166 No “Human skulls””
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No o: 167 ‘Yin‐yang cat skkulls’
No o: 168 ‘Hu uman skull’
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No o: 169 ‘Fe elis silvestris Catus’
o: 170 No 'An ngiogenesis' ‐ 4”x6” – handcut on carrd. The form ation of new w blood vessssles, signifiess the develop pment of lifee.
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No o: 171 ‘Co onnections’ ‐‐ 4"x6" handcut, ink on p paper. The exxtensive connections and d beautiful a rrangements of the me esenteric arccades supplying oxygenatted blood too keep the bo owel alive, syymbolises th e vital bondss people havve aro ound the wo orld which makes it a bettter place. Thhe backgroun nd of the art piece can bee changed to o suit specificc environments or can be lefft see througgh.
No o: 172 ‘Diilated pupil’ ‐ 4”x6” – han ndcut on adh hesive mirro r and card. P Pupil constricction and dilaation is conttrolled invvoluntarily byy the autono omic nervouss system, jusst like Goosebumps and h heat rate. It is said that d dilated pupilss is a siggn of affectio on. Portrayed d in this piece e, you shouldd observe yo our reflection n in the iris m made of mirrror, reflecting the lovve that otherrs have given n you throughout your liffe. The realizzation of thiss is representted by shedd ding a small ssilver teaar of appreciiation.
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No o: 173 ‘My Heart’ – 4””x6”, hand cut on ECG pa aper and carrd. Similar to the techniques used in ssurgery, laye ers of musclee and fasscia are retraacted to reveeal the coron nary vessel u nderneath aan original he eart tracing oof my very ow wn ECG. Thee rettracted layerrs resemble tthe petals off a rose. The delicate twissts of the coronary vesseel revealed in n the centre,, illu uminated fro om the depth hs by the surgeon’s head light to beco ome somewh hat exposed and vulnerable. This “op pened heart” metaph horically porttraits the trust and vulneerability in the relationship between llovers.
No o: 174 ‘Ve essels’ ‐ 4x6"", hand cut o on card. Blood is an impoortant compo onent of our body, and iss also the esssence of life. Carried within the vast network of tube es, these nettwork rangess from large vessels seenn with the na aked eye, to minute capillarries seen only under microscopes. W Whether blood d is taken aw way from thee heart in an artery, or to owards the e heart in a vvein, there iss a bond and fine balancee (auto‐regulation) to nourish our orggans. This siggnifies the balance between takingg and giving in a harmon nious society . There is so much in life we have takken for grantted, it’s timee to think what we can offer baack to our socciety.
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No o: 175 I w was looking at x‐ray and M MRI images a and i found oone that reallly appealed to me so i baased my drawing on med dical images with a llittle artistic license thrown in! Someething i have never attem mpted beforee, i am quite pleased.
o: 176 ‐ 183 No No o descriptions
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No o: 184 Styylised illustraation of a heart drawn an nd edited on Photoshop
No o: 185 A ssketch detailed drawing o of the right sshoulder, arm m and part o of the forearm m from a pu blication on Leonardo daa Vin nci's anatomical manuscrript from 500 0 years ago. I have tried to reproduce e this drawinng with the m main focus on the levvel of anatom mical detail.
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No o: 186 – 187
No o: 188 ‘Th his special heeart’. The sw wirls indicate that it needss to be recyccled and the colours reprresent life.
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No o: 189 'Medicum' ‐ prrismacolour p pencil. This sstyle was insppired by /soaap factory off bagnolet' bby the czech artist Alphon nse Mu ucha. It’s called 'Beauty iis not skin de eep'.
o: 190 No 'He eart felt' ‐ An natomical heeart pin made of forged ccopper fused d together with podwereed glass enam mel. Kiln‐fired d with a lo ow polish fin nish. Pin mecchanism on tthe back. Diggital illustration of mitral vale collagedd wih ink, watercolour and copper wire.
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No o: 191 – 192 No o descriptions
No o: 193 ‘He eart of Gold’’ ‐ This piece is based on the heart idiiom 'heart o of gold' and a also my interrest in the tin n man. whatt better heart fo or the tin man then the heart of gold??
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No o: 194 ‘Blue kidney’ ‐ biro and colouring penciil
No o: 195 ‘Gllomerulus/bo psule’ ‐ blue biro and penncil colour owmans cap
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No o: 196 ‘Fo oetus in utero’
No o: 197 'DIY kit' ‐ separrate pieces o of human ana atomy in minniature
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No o: 198 ‘Caardiac skeleton’ – biro
No o: 199 Stick woman w with a stick baaby in utero – biro
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No o: 200 Epidermal layeer of skin
No o: 201 'Vulnerable' viiruses entering a cell
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No o: 202 Mo ore cells
No o: 203 'i see' ‐ the eyee and ocular muscles
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No o: 204 Braain stem
o: 205 No Oliigodendrocyytes
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No o: 206 ‐207 No o description
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No o: 208 There are 4 pieeces in total which all con nnect togethher to make aa heart. Thesse pieces refflect organ donation, where sevveral differen nt aspects co ontribute to the success of an organ transplant. i.e donor andd recipient m matching.
No o: 209 Mini gutpod, abstracted an natomically b based creatioon. First in a series comb bining severaal different sttyles I regulaarly wo ork with. ‐ Mixed media, paper and in nk.
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No o: 210 'Re elic of one who will not b be sainted' 20 013 ‐ Wax annd pilgrim m medal on mah hogany 6" x 44" eanor Crook trained in scculpture at Central St Maartins and the e Royal Acad demy and maakes figures and effigies in Ele waax, carved wo ood and lifelike media. She has also m made a speccial study of a anatomy andd has sculpte ed anatomicaal and pathological waxworks for the Gordon Museum of Pathology at Guy's Hosp pital, Londonn's Science M Museum, and the of Surgeons o of England. SShe learned tthe techniqu ue of forensic facial reconnstruction m modelling from Royal College o Ricchard Neave and has dem monstrated a and taught thhis to artists, forensic anthropology sstudents, law w enforcemeent offficers and plaastic surgeon ns as well as incorporatinng this practice in her ow wn sculpted ppeople. Follo owing a lifelo ong intterest in Nortthern Renaisssance wood dcarving, andd influenced by the experrience of disssecting in orrder to learn anatomy, she sstudied limew wood carving at the Geissler‐Moroder wood carviing school inn the Austrian n Tyrol. In th he more lifelike than the liviing, using a ggenerous gra ant from the Wellcome T Trust she intterest of makking figures m developed the incorporatio on of electro onic animatroonics system ms into the scculptures so tthat her morribund and n twitch and mutter. Eleaanor is artistt in residence e at the Gorddon Museum m of Pathologgy, a maacabre creations now can me ember of thee Medical Arttists' Associa ation, runs a course in An natomy draw wing at the Rooyal College of Art and lecctures on thee M. A. Art & & Science cou urse at Centrral St Martinss School of A Art in Londonn.
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No o: 211
No o: 212 I am a dentist ((putting backk simles is my job as welll as passion). I would be soon going tto pursue myy Masters in De ental Surgeryy (MDS) in Prrosthodontics. Anatomy hhas always b been a myste ery for me evver since my introduction n to it... I belong to India, a developing coun ntry where m millions area waiting for h help. Througgh my artpiecce, I would liike to req quest peoplee to enlighten somebodyy's life ... by eeye donation n. I have myself vowed too donate my eyes.
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