Art and science are usually seen as being opposed, the realm of whimsical creatives versus the domain of technical and precise intellectuals, but notable figures from the past show us time and time again that the division between art and science is illusory.
From Galileo’s models of planets to da Vinci’s technical plans; Descartes’ illustrations of magnetic fields and Lomonosov’s drawings of the aurora; Agnes Arber’s illustrative sketches of plant anatomy and Edison’s designs for electrical filaments: the best thinkers are the ones who balance the technical with the creative, who think accurately outside the box, who create with precision and passion.
Jarred Wright is one contemporary creator who embodies this symbiotic relationship between art and science. Originally from Christchurch, Jarred studied at the British Society of Scientific Glass, part of the University of Queensland’s Chemistry and Microbiology Department.
As a scientific glassblower, he works in the fields of chemistry, nanotechnology and microbiology, creating technical instruments dedicated to the study of nature’s microcosm.
As an artist, he finds inspiration in these natural forms which appear under the microscope, as well as in the unique flora, fauna and artistic stylings of his home, Aotearoa.
As with all intellectuals, Jarred has always been curious. How things are made, how they work, which tools and materials are best suited to which task – these are questions he’s probably been asking himself since before he could walk! However, the most crucial issue for Jarred was always: “how can I use this information to make something new, something unique?” This is how creativity grew out of curiosity. He aimed to create something that “pushes the use of the material in a way that is both interesting and aesthetically pleasing.”
His journey into scientific art, or artistic science, began early. As a child, he would tinker away at toys and tools, always improving them. Maybe they could fire further? Spin faster? Could they be made to emit weird sounds? Significantly, his tinkering wouldn’t stop at improving their function and would extend to embellishing their form as well, adding paint or components until he felt satisfied. This sense of accomplishment as he would sit back to admire his creations is one he still strives for to this day.
He actually stumbled into glassblowing a little by accident, or maybe providence. Having been made redundant “for calling my boss a bad name – he deserved it, no regrets,” he saw a listing for a scientific glass blowing apprenticeship. The notion of being so intimately involved with an industry that “takes the building blocks of physical matter and manipulates them” drew him in, and he liked the idea of creating “the tools that these wizards and sorcerers would use to, hopefully, improve the world.”
Unbeknownst to Jarred, his life up to this point had actually instilled in him skills that were surprisingly relevant to the field. Years of workshop management experience, a basic understanding of glass casting from his Fine Arts studies and a solid foundation in microbiology and fluid dynamics from homebrewing beer (which his grandfather taught him) imparted to him some of what he needed to know, and his future boss discerned in him a particular promise.
Despite this, it was a steep learning curve. “Think the karate kid training montage, but with my ass being kicked every day by failed and broken attempts at complex glass apparatus.” Scientific glass is heavily focussed on the technical skills of glass manipulation, as opposed to Jarred’s more curious and creative approach to scientific questions. He found himself having to “approach the training as a discipline” rather than an exploration.
Scientific glass is highly technical and precise, as well as being somewhat repetitive, leaving little room for error or experimentation. Jarred describes himself as going into a “semi-meditative state” when working the scientific jobs. “I imagine the microscopic actions taking place in my hands: the silica atoms to which I’m imparting energy, exciting them to move erratically and turn the crystalline glass into a liquid; how they cool down and settle back into the tidy hexagon formation again. I think of the cell cultures multiplying, splitting and releasing gas that fills the empty chambers of what I’m working on and how that will move through the forms.”
Nine years after embarking on his glassblowing journey, Jarred is beginning to expand his work into creative fields, building on the hard-earned skills he has acquired and finding his artistic inspiration in the microscopic actions unfolding in his hands. Unlike scientific glass, art glass is “fluid, dynamic, ambitious and much more forgiving,” giving free rein to his creative curiosity and allowing him to freely create artistic representations of his scientific meditations.
If you’re interested in finding out more about Jarred’s work, check out his upcoming exhibition at the artisan gallery artisan.org.au/blogs/news/small-object-space-jarred-wright, which will open on the 20th of July with a workshop artisan.org.au/blogs/workshops/artist-talk-demonstration.
There aren’t many scientific glassblowers around for the level of demand, and I would like to personally thank Jarred for taking time out of his busy schedule to answer my questions. I certainly learnt something new!