Melissa Belli
Interview by Kiran Gurung, Colloquium Manager
KG: What inspired you to include different aspects of physiology in your art?
MB: Looking through a microscope never ceased to fill me with awe. During my first few histology microscopy labs in medical school I was fascinated by cells and wished I could spend all day looking at them. My fascination with cellular aesthetics, function, and their infinite complexity and enterprise nurtured my whole appreciation of life. The cell for me is a true deity, the unit of life. I wish to build a temple in honor of cells one day. I was very pleased when I discovered a way to channel my passion for cells through my passion for art.
MB: Looking through a microscope never ceased to fill me with awe. During my first few histology microscopy labs in medical school I was fascinated by cells and wished I could spend all day looking at them. My fascination with cellular aesthetics, function, and their infinite complexity and enterprise nurtured my whole appreciation of life. The cell for me is a true deity, the unit of life. I wish to build a temple in honor of cells one day. I was very pleased when I discovered a way to channel my passion for cells through my passion for art.
Blue and yellow chromatophores is a screenprint. 8 1/2" x 11" (2018). Chromatophores are light reflecting structures from the skin of cuttlefish and squid used to camouflage .
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Blue neuron is an etching toner transfer on copper. 3.5"x10" (2010). This is a pyramidal cell from the cortex.
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KG: Most of your art takes the form of etchings - why do you use this technique in particular?
MB: I previously tried other techniques for representing cells - painting, watercolor, drawing, but I was not satisfied with them. I studied art in Venice, Italy for two years at the Scuola Internazionale di Grafica. Their strongest department was printmaking and I reluctantly took an elective on it. In the beginning the discipline drove me mad, every step would take hours and every piece had innumerable steps. It would take weeks to make a single piece. Eventually I learned to live with the slow pace, it became a meditation, an antidote to the fast pace of the world; slow art like slow food was delightful. Also, etching is very scientific in nature; we deal with acids, and time-sensitive very precise processes. The representations of cells achieved very organic textures, and for me this translated into convincing images.
MB: I previously tried other techniques for representing cells - painting, watercolor, drawing, but I was not satisfied with them. I studied art in Venice, Italy for two years at the Scuola Internazionale di Grafica. Their strongest department was printmaking and I reluctantly took an elective on it. In the beginning the discipline drove me mad, every step would take hours and every piece had innumerable steps. It would take weeks to make a single piece. Eventually I learned to live with the slow pace, it became a meditation, an antidote to the fast pace of the world; slow art like slow food was delightful. Also, etching is very scientific in nature; we deal with acids, and time-sensitive very precise processes. The representations of cells achieved very organic textures, and for me this translated into convincing images.
Chromatophores in red is a hard ground etching on copper. 4"x 6" (2018).
KG: Several of your pieces tell stories on a cellular level - what fascinates you about cellular biology?
MB: Cells have a consciousness of their own, they have clear purposes, fascinating instruction sets in genes guide their very complex systems for achieving these objectives. Embryonic cells can differentiate into all kinds of cells that in huge numbers can organize to develop tissues, organisms, drive complex behavior, cycles, reproduction and I could go on and on. Life is cellular. Cells can achieve things we can only dream of with all our technology, this is a great mystery to me. I am blown away by everything cell.
MB: Cells have a consciousness of their own, they have clear purposes, fascinating instruction sets in genes guide their very complex systems for achieving these objectives. Embryonic cells can differentiate into all kinds of cells that in huge numbers can organize to develop tissues, organisms, drive complex behavior, cycles, reproduction and I could go on and on. Life is cellular. Cells can achieve things we can only dream of with all our technology, this is a great mystery to me. I am blown away by everything cell.
Chromatophores in red is a hard ground etching on copper. 4"x 6" (2018).
KG: What are you working on right now, and do you have any upcoming shows?
MB: I am currently taking part in a residency program offered by Print Arts Northwest (PAN) in Portland, Oregon. Twelve emerging printmakers were selected to participate in the program, which offers monthly artist meetings, technical demonstrations, and access to faculty and studio time for one year. I am currently learning from Barbara Mason, PAN president and master printmaker with a specialty in solar etching. I am working on learning this technique and putting together work for the upcoming PAN emerging printmakers group show in the fall of 2019.
MB: I am currently taking part in a residency program offered by Print Arts Northwest (PAN) in Portland, Oregon. Twelve emerging printmakers were selected to participate in the program, which offers monthly artist meetings, technical demonstrations, and access to faculty and studio time for one year. I am currently learning from Barbara Mason, PAN president and master printmaker with a specialty in solar etching. I am working on learning this technique and putting together work for the upcoming PAN emerging printmakers group show in the fall of 2019.
Pneumotaxic burst is a photoetching on copper. 24" x 36" (2012). Neuron from the pneumotaxic (breath control) center of the nodose ganglion of the vagus nerve.
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Purkinje 4 is a hard ground etching on copper. 20 1/2" x 14 1/2" (2018.) Neuron from the cerebellum.
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Check out more of Melissa's work on her website.
Follow her on Instagram @antoninabee
