Alex Galvez-Pol
Interview by Alexandra Constantinou, Communications & Web Intern
Interview by Alexandra Constantinou, Communications & Web Intern
AC: Did you start as a scientist or an artist? How did you combine the two disciplines?
AGP: I would say that I first started as a scientist. Nevertheless, since I was young I have always been carrying a camera with me, experimenting with video and photography, light, motion, and perspectives, traveling and capturing places, as well as portraying others.
During my PhD in cognitive neurosciences I realized that it was somewhat difficult to share ideas and concepts of my research with family and friends. I ended up describing my data by using metaphors, explaining feelings, and describing pictures that I had in mind. Furthermore, I also realized that many people do not really know what is the role of scientists (what we do), or what we work for. So, I decided to make real the metaphors and pictures of my mind by converting different aspects of my research into artistic images. I wanted to break the boundaries between lab and the “outside world.” I wanted to use art to convey science and vice versa.
AGP: I would say that I first started as a scientist. Nevertheless, since I was young I have always been carrying a camera with me, experimenting with video and photography, light, motion, and perspectives, traveling and capturing places, as well as portraying others.
During my PhD in cognitive neurosciences I realized that it was somewhat difficult to share ideas and concepts of my research with family and friends. I ended up describing my data by using metaphors, explaining feelings, and describing pictures that I had in mind. Furthermore, I also realized that many people do not really know what is the role of scientists (what we do), or what we work for. So, I decided to make real the metaphors and pictures of my mind by converting different aspects of my research into artistic images. I wanted to break the boundaries between lab and the “outside world.” I wanted to use art to convey science and vice versa.
AC: How did you develop your way of "brushing with light" in your photographs?
AGP: I wanted to express the following idea (and focus of my research): “there is more to the body that meets the eye." So, I thought on different manners in which I could represent this. I needed something that would allow me to distort and to make more “ethereal” a picture of the body. I wanted to add colours, dimensions, and layers. So, I decided to use fiber optics shedding light in still body models during long exposures. Moving these fibers of light against the skin of the models created the effect that I was looking for. It felt almost like painting with light in the darkness.
AC: How does it coincide with or combine with your research?
AGP: The main idea behind these pictures is that seeing a human body does not simply involve the perception of photons, but its transformation in the brain into an internal body representation. By doing this, we move from mere visual information to functional and meaningful cognition that allows us to understand, imitate, and learn from others’ bodies. However, it is unclear how such visual-to-body representation is accomplished in the brain (and this is the focus of my lab work).
AGP: I wanted to express the following idea (and focus of my research): “there is more to the body that meets the eye." So, I thought on different manners in which I could represent this. I needed something that would allow me to distort and to make more “ethereal” a picture of the body. I wanted to add colours, dimensions, and layers. So, I decided to use fiber optics shedding light in still body models during long exposures. Moving these fibers of light against the skin of the models created the effect that I was looking for. It felt almost like painting with light in the darkness.
AC: How does it coincide with or combine with your research?
AGP: The main idea behind these pictures is that seeing a human body does not simply involve the perception of photons, but its transformation in the brain into an internal body representation. By doing this, we move from mere visual information to functional and meaningful cognition that allows us to understand, imitate, and learn from others’ bodies. However, it is unclear how such visual-to-body representation is accomplished in the brain (and this is the focus of my lab work).
AC: You wrote that “repetition is the common mechanism to both Art and Evolution.” Can you explain how this shows up in your art and your scientific research?
AGP: Those words correspond to my piece Repetition Evolves. This was created for a very nice event called Creative Reactions (curated by Luke Wainwright and Sarah Gates). Here, artists were paired with scientists and were supposed to create new pieces of art reflecting on the experience. I worked with Prof. Mark Thomas (evolutionary genetics). I reached the conclusion that both art and genes follow similar mechanisms: both are copied, almost propelled, and certainly repeated into further generations. Only by imitating/repeating others’ work and techniques, artists (and scientists) reach new horizons and create what we consider “novelty”. Similarly, only by repeating and conveying our genetic material, evolution can generate ”a new being and species”. My piece Repetition Evolves reflects on all this: a central figure depicts a young woman emulating a double helix of DNA emerging from a repeated pattern. She is the sublime embodiment of survival and creativity; a vibrant and effulgent figure emanating from a trace of lifeless repetitions that vanish into a dark vacuum.
AGP: Those words correspond to my piece Repetition Evolves. This was created for a very nice event called Creative Reactions (curated by Luke Wainwright and Sarah Gates). Here, artists were paired with scientists and were supposed to create new pieces of art reflecting on the experience. I worked with Prof. Mark Thomas (evolutionary genetics). I reached the conclusion that both art and genes follow similar mechanisms: both are copied, almost propelled, and certainly repeated into further generations. Only by imitating/repeating others’ work and techniques, artists (and scientists) reach new horizons and create what we consider “novelty”. Similarly, only by repeating and conveying our genetic material, evolution can generate ”a new being and species”. My piece Repetition Evolves reflects on all this: a central figure depicts a young woman emulating a double helix of DNA emerging from a repeated pattern. She is the sublime embodiment of survival and creativity; a vibrant and effulgent figure emanating from a trace of lifeless repetitions that vanish into a dark vacuum.
AC: What art projects are you currently working on?
AGP: At the moment I have to say that I am strictly more focused on several research projects. Once I move forward in my lab work, I will generate new art. I live through a sort of synergy between science and art. Also, I am thinking on new ways to convey complex science to non-scientists, including new was of expressing my own metaphors and mental images. I’m truly looking forward for this!
Find Alex online:
Website: alexgalvezpol.com
Twitter: @alexgalvezpol
AGP: At the moment I have to say that I am strictly more focused on several research projects. Once I move forward in my lab work, I will generate new art. I live through a sort of synergy between science and art. Also, I am thinking on new ways to convey complex science to non-scientists, including new was of expressing my own metaphors and mental images. I’m truly looking forward for this!
Find Alex online:
Website: alexgalvezpol.com
Twitter: @alexgalvezpol