This body of glass work has been developed since 2004. Made to contemplate the global impact of each disease, the artworks were created as alternative representations of viruses to the artificially colored imagery we receive through the media. In fact, viruses have no color as they are smaller than the wavelength of light. By extracting the color from the imagery and creating jewel like beautiful sculptures in glass, a complex tension has arisen between the artworksâ€™ beauty and what they represent.
His transparent and colorless glassworks consider how the artificial colouring of scientific microbiological imagery, affects our understanding of these phenomena. See these examples of HIV imagery. If some images are colored for scientific purposes, and others altered simply for aesthetic reasons, how can a viewer tell the difference? How many people believe viruses are brightly colored? Are there any colour conventions and what kind of â€˜presenceâ€™ do pseudocolored images have that â€˜naturallyâ€™ colored specimens donâ€™t? How does the choice of different colors affect their reception?
Photographs of Jerramâ€™s glass artworks are now used widely in medical journals, text books and media stories and are seen as useful representations of virology within the scientific community. His work has been presented in The Lancet, the British Medical Journal and on the front cover of Nature Magazine.
The sculptures are designed in consultation with virologists from the University of Bristol, using a combination of different scientific photographs and models. They are made in collaboration with glassblowers Kim George, Brian Jones and Norman Veitch.
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