Creativity in Molecular Biophysics and Contemporary Art

The IMB and MOB graduate program focus on interdisciplinary research, applying concepts of physics, mathematics, and chemistry to important and fascinating problems in biology and medicine. One of the most exciting aspects of this type of research is the application of very precise, formal scientific concepts, tools, and approaches to biology, which, in contrast, is a very “messy” science. In doing so, our research is colored by our scientific and personal backgrounds. In other words, we “see” the problem in unique and interesting ways based on the tool-set that we bring to the problem.

Research in molecular biophysics, indeed in most areas, is an evolving process. We begin a project with a set of expectations for the outcome. This is often phrased in quantitative terms: “I expect a dissociation constant in the nanomolar range”, or “I anticipate that the X-ray data will yield a high resolution atomic structure of this macromolecular assembly”. Inevitably, our expectations evolve during the course of the research and the outcome often looks very different than what our initial expectations suggested. The path from conception to completion of the research project is a process of trial and error, of frequent failure, incomplete data, and, often, very creative insights into what our results are really telling us about the problem under investigation. In such a process creativity and personal experience play a critical role in shaping not only our interpretation of the data, but the specific approaches used and the paths followed along the way.

The situation is similar to what an artist experiences during the creation of a piece of art. We are exploring the parallel roles for creativity in scientific research and contemporary art through interactions with two artists at FSU, Anne Stagg and Holly Hanessian. Anne Stagg, a faculty at FSU's Department of Art has some of her work displayed currently in the fourth and fifth floors of Kasha Laboratory. Holly Hanessian will exhibit her work in January 2010.

Parallels between Art and Scientific Research

Artists become interested in a subject and begin to study and analyze it from their unique perspective. Similar to scientists, artists often start out with an idea or general interest in our subject and the more they learn, the more the ideas evolve. This learning comes in a number of ways and it can be based in pure research and investigation, or through trial and error. Often, work that is made in the studio that is not quite what the artist was hoping for or does not convey what they were hoping.  Sometimes the work is salvageable and sometimes not, but often in the process, the artist makes an interesting discovery along the way that is filed away for later or maybe the discovery becomes the focus of the work. At any rate, ideas are refined and revised as the artist moves through the process of making. Occasionally the revisions take artists outside of their individual knowledge and technical skill base and they go in search of new methodology, technical help or collaboration.

In Anne’s artist statement, she posits that creativity in art deals with struggle, failures, and growth, which deeply parallel the scientific process described above. Of course, there are differences between scientific research and contemporary art. In scientific research, we strive to validate our results and justify our interpretations based on our own experience and on literature precedents. Through this process, scientists (generally) arrive at a consensus interpretation of understanding of the results of a given project that are written in a publication.  In contemporary art, however, the experiences and background of the individual viewing the art are as important as is the creativity and individuality of the artist who created the work. It can be argued that a work of art is not complete until it is shared with the viewer.

For example, scientists have interpreted Anne’s Camolace series in terms of cellular structure or interacting protein networks.  These interpretations reflect how we see the world and attempt to interpret it in terms of our own experiences and references. For Anne, these paintings are created using lace and crochet patterns together with camouflage in order to blend gender stereotypes in non-traditional ways, however, ultimately they are about interactions, relationships and cause and effect. It is not important to Anne if the viewer comes away with her interpretation of the work or their own understanding.

Anne’s Artist Statement

I create visual atmospheres and appropriate iconography in my paintings in order to re-describe my environment in ways that draw from shifting memory, personal history and connections. I am particularly interested in the collision of proscribed traditional social function and personal choice. As a native of the South, I struggled with expectations of social elegance, tradition and polish that define the Southern archetype and the corresponding tradition of gender roles. In an era where many of these ideas had become taboo throughout much of our nation, they remained strong in parts of the South. My work often deals with struggle, ensuing failure, and the resulting growth. I am not attracted to the elegance of perfection, but rather the beauty of the struggle.

 

Anne Stagg's Website