JENNIFER CROUCH
Art-science practitioner and researcher
CV

Selected works:
  1. Drawings
  2. Paintings
  3. Textiles
  4. Ceramics
  5. Prints
  6. Workshops


“Recorporealising MRI Data” PhD artwork:
  1. MRI: physics and data
  2. Phantoms
  3. Art object as scientific device
  4. Weaving patterns
  5. Yarn wrappings // lab maps 
  6. Body-loom assemblage
  7. Woven-work
  8. Research maps
  9. Painted cartographies


Workshops, exhibitions & public engagement:
  1. Membranes
  2. Public engagement of science /Art-Science Workshops
  3. Synthetic Biology workshops
  4. The Clearing: A project from the future
  5. Reitir
  6. Arctic Circle Residency
  7. Jiggling Atoms
  8. Invisible Structures
  9. Books


Other work:
  1. Embroidery symbols
  2. Geology paintings
  3. The Moss Crest Project
  4. Flatland paintings
  5. The Magic Calendar
  6. Probability
  7. Dissecting Room Drawings
  8. Other ceramics
  9. Radio Club
  10. Sunk Season
  11. Epecuen (mural/installation)
  12. A Vague Inventory of Ailments and States



Biography —
Info
  1. Dr. Jennifer Crouch is an art-science practitioner working in sculpture, textiles, drawing, installation and painting. They have a background in physics and medical illustration and experience working as an artist in scientific laboratories, on expeditions in the Arctic Circle, with communities, and as part of local and international art projects. 
  2. Jennifer has guest lectured at universities across the UK and Europe, teaches textile arts at Morley College London, is fashion lead at NewVic FE College, and is an associate lecturer on the MA in Art and Science at Central Saint Martins, London. 
  3. They have published books on popular science and anatomical art. 
  4. Jennifer is a queer slug and keen gardener interested in liminality, composting, LBGTQ culture & experiences, textiles, kink, magic and the absurdity of the cosmos.

Mark

Phantoms

 




TK / 1962
From The Structure of Scientific Revolutions

            Yet one standard product of the scientific enterprise is missing. Normal science does not aim at novelties of fact or theory and, when successful, finds none. New and unsuspected phenomena are, however, repeatedly uncovered by scientific research, and radical new theories have again and again been invented by scientists.
            The practice of normal science depends on the ability, acquired from exemplars, to group objects and situations into similarity sets which are primitive in the sense that the grouping is done without an answer to the question, “Similar with respect to what?” One central aspect of any revolution is, then, that some of the similarity relations change. Objects that were grouped in the same set before are grouped in different ones afterward and vice versa. Think of the sun, moon, Mars, and earth before and after Copernicus; of free fall, pendular, and planetary motion before and after Galileo; or of salts, alloys, and a sulpuhur-iron filing mix before and after Dalton.






TK / 1962
From PHANTOM AS ASSEMBLAGE

            Yet one standard product of the scientific enterprise is missing. Normal science does not aim at novelties of fact or theory and, when successful, finds none. New and unsuspected phenomena are, however, repeatedly uncovered by scientific research, and radical new theories have again and again been invented by scientists.
            The practice of normal science depends on the ability, acquired from exemplars, to group objects and situations into similarity sets which are primitive in the sense that the grouping is done without an answer to the question, “Similar with respect to what?” One central aspect of any revolution is, then, that some of the similarity relations change. Objects that were grouped in the same set before are grouped in different ones afterward and vice versa. Think of the sun, moon, Mars, and earth before and after Copernicus; of free fall, pendular, and planetary motion before and after Galileo; or of salts, alloys, and a sulpuhur-iron filing mix before and after Dalton.




Mark