The artists in this room delve into the different ways of health and healing which is certainly relevant nowadays due the Coronavirus pandemic. Taking inspiration from the Wellcome Collection, they explore the culture of medicine through various forms of painting and multimedia digital work. They research historical medicine, the social interactions with animals and how to identify with one’s true self. Continual drug abuse is another area examined in addition to fictional cures invented by the artist themselves.
In 2018 Laurel visited the Wellcome Collection to view an exhibition called ‘sire’. The exhibition aimed to highlight the genomics of genetics into breeding practice, to make more beneficial, profitable animals for food production. Since being exposed to this exhibition, their practice has focused on looking into our societal interactions with animals and trying to figure out whether they are outdated, specifically regarding health, environment and morality. They have responded to our species disconnection with animals, in contemporary culture through producing work on how humans modify animals to fulfil personal desires. Currently, they are looking into how the rise of post humanism may help us reconnect with non-humans and bring back balance to our planet. The pieces Laurel has chosen for the exhibition are called ‘The Post Non-Human’ and were done using oil paints on paper. She chose to use oils as she believes they are far more forgiving than any other paint similarly to how we should be when reflecting on our interspecies relationships.
Nurses on the ward
These paintings demonstrate the changes in medicine and nursing through the years, portraying how people were nursed where possible in comparison to the drastic changes and scientific breakthroughs which have increased the different medical advances we have today and how far we have come with better health. This includes historical times and present day, bringing in historical findings from nurses who trained years ago and those in training now. The changes are shown through juxtapositions and the use of anachronistic elements, transforming imagery found on in the Wellcome Collection and creating new narratives.
Dasha Konovalova &
Join SelfPoint Sanctuary on a journey through the exploration of the self and the search for identity. SelfPoint Sanctuary is a place that aims to help others feel welcomed and united by the common goal of reaching their full potential. It was born when the two artists met from their desire to be understood and to have a safe space for self-expression. Rather than limiting themselves by the tools used, they prefer to push the boundaries when it comes to understanding one’s true self. By using the internet as an artistic platform, SelfPoint Sanctuary can bring their understanding of the self to audiences everywhere. The audience is encouraged to engage with SelfPoint in any way they may like. Enjoy your stay!
Finger Removal Archive
Throughout history there is evidence of quackery. People claiming to have cures for the incurable and promoting hypochondria in the healthy, often becoming mainstream and sometimes unchallenged.
Much of the evidence of these sham medics in the Wellcome Collection is in satirical ephemera and this Moro’s main approach in her exploration.
Like a quack doctor, Moro has created a fictional and absurdist treatment to be the vehicle for this body of work. This treatment is finger removal.
The work documents an ongoing attempt to document the phenomena; collecting fragments, references and responses from a range of interested parties including campaign groups, patients and the medics behind the treatment.
Oxycontin’ and ‘Microgynon
‘Oxycontin’ and ‘Microgynon’ are two collections of paintings, providing an opportunity for contemplation. The gloss paint acts as a mirror, coercing the audience to engage with their physical reflection in the paintings surface, seeing themselves amongst the medication, to encourage a shift in perception. The Triptych, ‘Microgynon’ engages with current media uproar, concerning contradictions between the Oxford-AstraZeneca vaccination and contraceptive pills. Whilst ‘Oxycontin’, diptych, invites the audience to reflect on our continual abuse of drugs, particularly since the Victorian period. Influenced by a previous Wellcome Collection exhibition ‘High Society’ and, Mike Jay’s accompanying text, ‘Mind-Altering Drugs in History and Culture’ provoked an investigation into the underlying naivety and romanticisation of drug use.