“Man’s conquest of Nature turns out, in the moment of its consummation, to be Nature’s conquest of Man.”
—C.S. Lewis, Abolition of Man
The artworks shown here are by multiple artists working between 1901 and 1976.
The repertoire of objects in a vanitas still-life is confined to external power symbols: crowns—including the papal tiara and mitres, as well as kingly crowns—and a knight’s armour were always part of such still-lifes, as was the globe as a symbol of worldwide expansion and a craving for conquests. These “elements of vanity” are of central importance in this painting.
A series of computerized machine embroidered doilies mounted on black velvet. The design of each doily is based on a different viral structure.
Literature, folktales and myths often inspire my exploration of the feminine archetype. My figures often bear the scars and imperfections, that, to me, characterize the struggle to become.
With giant Saturn hanging in the blackness and sheltering Cassini from the sun’s blinding glare, the spacecraft viewed the rings as never before, revealing previously unknown faint rings and even glimpsing its home world.
Russian photographer Andrew Osokin captures the fragile beauty of snowflakes and ice crystals in the brief moments before they melt away. Using macro lenses, he reveals the exquisite world of not only these minute complex forms but also those of water droplets and insects in all their glory. To view more of his beautiful images,…
Photographs of Jerram’s glass artworks are 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.