Richelle Gribble
Interview with Emma Snodgrass, SciArt Intern
ES: How did your interest in the parallels of micro/macro worlds come about?
RG: My interest in the micro/macro systems began when I generated maps of my Facebook friends and compared the complex patterns to structures of atoms, river deltas, neural networks and tree branches. Intrigued by the repeating design (i.e. hubs, links, clustering) of cross-disciplinary systems, I found inspiration in all networks that shape our lives and unify our planet. By viewing the micro/macro patterns, we are able to more clearly comprehend ourselves, both internally and externally, in context to our surroundings through systems thinking. This is a process of understanding how systems influence one another within a complete entity, or larger system. It enables us to get outside of our own frame of reference and see things from a new perspective, one that can be immensely detailed close-up or unified from afar.
Interview with Emma Snodgrass, SciArt Intern
ES: How did your interest in the parallels of micro/macro worlds come about?
RG: My interest in the micro/macro systems began when I generated maps of my Facebook friends and compared the complex patterns to structures of atoms, river deltas, neural networks and tree branches. Intrigued by the repeating design (i.e. hubs, links, clustering) of cross-disciplinary systems, I found inspiration in all networks that shape our lives and unify our planet. By viewing the micro/macro patterns, we are able to more clearly comprehend ourselves, both internally and externally, in context to our surroundings through systems thinking. This is a process of understanding how systems influence one another within a complete entity, or larger system. It enables us to get outside of our own frame of reference and see things from a new perspective, one that can be immensely detailed close-up or unified from afar.
Intertwined, graphite, ink, charcoal, watercolor on Stonehenge, 30 x 24 inches, 2015
Micro/macro scale enables us to find unlikely similarities between networks and predict behaviors of systems with similar design and architecture. For example, by noticing small branching patterns in our body (neurons, blood veins, skin texture) and comparing these patterns to our social lives (relationships, organizational hierarchies, and family trees), we can better understand ourselves relative to others. If we compare our virtual networks (the Internet, social media, viral content) to our natural environment (tree roots, ant tunnels, and coral reefs) we can detect how information spreads more efficiently by mimicking thriving life forms. If we choose to look at each scale under close scrutiny, we can more clearly see that we are all part of layers of systems. By noticing the small, nearly invisible systems we can be aware of the vastness of our interconnectivity reaching something far bigger than ourselves.
I create artwork about these networks to witness and share the tiny and vast systems within and around us. By doing so, I advocate for the “bigger picture” perspective to remind ourselves to exist beyond our own mental state, rather to wonder and feel connected to everything else. If you can look in and look out to see beyond what you know, it is a comforting place, feeling, and experience to have. Life is brief, long, confusing, exciting, and full of questions. Observing the micro/macro scale can fill us with wonder and make us more closely understand our role within a networked universe. The more networks we can uncover, the closer we are to discovering the largest system of all – the web of life that holds it all together. Perhaps it is the Big Bang, gravity, a God, a moment, a reason, or love. Who knows? As we keep exploring outwards and inwards, perhaps we move closer to what it means to exist and evolve.
ES: How does scale figure into your works and shows?
RG: Scale is very important in the work that I create. The size of an art piece can truly influence the conceptual interpretation of it and shape the overall experience. For example, by creating something small, you spend more time getting close to it, zooming in on the details. It becomes a personal experience as viewers take turns to look at it. Whereas, when something is large, you are forced to step back to see it all and then visually navigate it section by section to digest what you see. Also, when an artwork is large, multiple viewers can observe it at once, creating a more socialized viewing experience. In both cases, I love how scale offers an opportunity to physically engage the viewer and create an intended public or private moment. My artwork experiments with individual tiny works, large clusters of small works, and massive paintings and installations.
I create artwork about these networks to witness and share the tiny and vast systems within and around us. By doing so, I advocate for the “bigger picture” perspective to remind ourselves to exist beyond our own mental state, rather to wonder and feel connected to everything else. If you can look in and look out to see beyond what you know, it is a comforting place, feeling, and experience to have. Life is brief, long, confusing, exciting, and full of questions. Observing the micro/macro scale can fill us with wonder and make us more closely understand our role within a networked universe. The more networks we can uncover, the closer we are to discovering the largest system of all – the web of life that holds it all together. Perhaps it is the Big Bang, gravity, a God, a moment, a reason, or love. Who knows? As we keep exploring outwards and inwards, perhaps we move closer to what it means to exist and evolve.
ES: How does scale figure into your works and shows?
RG: Scale is very important in the work that I create. The size of an art piece can truly influence the conceptual interpretation of it and shape the overall experience. For example, by creating something small, you spend more time getting close to it, zooming in on the details. It becomes a personal experience as viewers take turns to look at it. Whereas, when something is large, you are forced to step back to see it all and then visually navigate it section by section to digest what you see. Also, when an artwork is large, multiple viewers can observe it at once, creating a more socialized viewing experience. In both cases, I love how scale offers an opportunity to physically engage the viewer and create an intended public or private moment. My artwork experiments with individual tiny works, large clusters of small works, and massive paintings and installations.
Overview, acrylic, chalk, ink, lava gel, oil pastels, rubber bands on panel, 8 ft x 18 ft, 2015
I recently created a painting entitled, Overview which is 8 x 18 feet. Scale is very important for this piece because I wanted viewers to feel like they were in space looking down at Earth. Overview features an array of networks including molecular structures, social networks, and celestial systems. This painting is inspired by Frank White's founding term "the Overview Effect", which describes a cognitive shift in awareness reported by astronauts when in spaceflight. This concept implies that by viewing our interconnectivity from above, we become more aware of our impact on each other and our environment. The scale and content of Overview attempts to emulate this newfound perspective. When seeing the Earth - and the networks that connect it - it becomes clearer how an individual can affect it.
Networked Life, mixed media on paper, framed in plexi, 6 x 6 inches (365 panels), 2013
Alternatively, I created an artwork entitled Networked Life consisting of 365 small mixed-media artworks. I intentionally wanted each artwork to be small because it is part of an interactive installation where viewers are invited to rearrange the tiles to build visual connections together. As viewers interact with each artwork, they are able to get a direct and personal experience handling and finding each piece. Each artwork is extremely detailed so viewers spend time viewing the works up close. Watch people play with the interactive puzzle and computer game HERE!
ES: How do you think science can be helpful in understanding current cultural phenomena?
RG: Science is helpful in understanding current cultural phenomena because science is in everything, thus inspires and affects everything we do and see. Science is evident in the interactions of people, the ways traffic flows, how objects balance, and provides clues about the origin of all matter and life in our known universe. To neglect science in art making removes a crucial aspect of our common human experience, which is typically what art aims unify and promote. To me, an artist is able to interpret the world around them to reveal secrets, ponderings, or curiosities that are common to all. Science does the same thing. When I incorporate and interpret scientific concepts in my artwork, the science is the story and the creation of the artwork is the personal, emotional interpretation of such inquiries. By merging science and art we blend logic and emotion to dissect, test, and explore the life we’ve been given. Science offers another lens to view the world and art can allow us to remark about the remarkable by making science social and communal.
RG: Science is helpful in understanding current cultural phenomena because science is in everything, thus inspires and affects everything we do and see. Science is evident in the interactions of people, the ways traffic flows, how objects balance, and provides clues about the origin of all matter and life in our known universe. To neglect science in art making removes a crucial aspect of our common human experience, which is typically what art aims unify and promote. To me, an artist is able to interpret the world around them to reveal secrets, ponderings, or curiosities that are common to all. Science does the same thing. When I incorporate and interpret scientific concepts in my artwork, the science is the story and the creation of the artwork is the personal, emotional interpretation of such inquiries. By merging science and art we blend logic and emotion to dissect, test, and explore the life we’ve been given. Science offers another lens to view the world and art can allow us to remark about the remarkable by making science social and communal.
Earth, acrylic, oil pastels, ink, rubber bands, on canvas, 36 x 36 inches, 2015
To learn more about Richelle's work and to receive news about her current exhibitions check out her website at www.richelle-gribble.com. To contact Richelle email her at [email protected]
