Teran, Tosca

  • Jokulsarlon chopines
    Jokulsarlon chopines
    Jökulsárlón Chopines Lost wax cast Gaffer crystal, recycled reindeer leather, LEDs
  • Beast
    Beast
    Performative wearable lost wax cast Gaffer crystal, borosilicate (flame-worked) glass, sterling silver, pewter, human hair, leather, Icelandic sheep\'s wool, sound
  • Epigeous conidiophorus
    Epigeous conidiophorus
    Sterling silver, borosilicate glass, silicone
  • Unclassified
    Unclassified
    Sterling silver, borosilicate glass, lichen, 24k gold, bees wax
  • Ovarium
    Ovarium
    An unNatural History Work and installation created for Urban Glass Brooklyn SOFA NY 2009 Sterling silver, 18kt gold egg with LOS patina, borosilicate glass, vitreous enamel, resin, soda lime glass
  • Orbis Tertius
    Orbis Tertius
    Installation view of, Orbis Tertius *new* gallery 2004 Sterling silver, vitreous enamel, silicone, blown glass, audio, video MRI
  • Transgenic Heart
    Transgenic Heart
    Sterling silver, vitreous enamel. Life size Human heart approx 64 cubic centimeters. from the installation: Orbis Tertius *new* gallery 2004
  • Subcutaneous magnoliopsida
    Subcutaneous magnoliopsida
    An unNatural History Work created for SOFA 2009 represented by Urban Glass Brooklyn Sterling silver, glass The inspiration for this body of work is my fascination with the artistic representation of natural history, the creation of fictitious places in literature and my recent interest in Cordyceps fungus – in particular, Cordyceps Unilateralis, a species of entomopathogenic fungus that infects and alters the behaviour of ants in order to ensure the widespread distribution of its spores. It is from the Cordyceps that I most strongly draw the physical inspiration for my work at present. If we can say that the world of science is synonymous with truth and the world of art with that of fiction, I want to tread a middle ground that is unusual and seemingly beyond belief, yet also familiar. Borrowing from the work of German biologist and naturalist Ernst Haeckel, I want to create a body of work that is a documentation of something newly discovered; but, whereas it is claimed that some of Haeckel\'s embryo drawings of 1874 were fabricated, for example, I am starting in the opposite direction, from a conjecture of the imagination grounded with elements that - although bizarre - are quite real, to try to give it verisimilitude. Haeckel’s embryo drawings, in spite of the fact that they overemphasized similarities between embryos of related species, nonetheless found their way into many biology textbooks, and into popular knowledge. I have adapted and created my own peculiar genus of entomopathogenic fungus with the hope that it inspires us to wonder not what imagination or motivation created them but simply, where such things can be found. The specimens in this collection are represented as maquettes; as a reader of Jules Verne’s Journey to the Center of the Earth, C.S. Lewis’ Perelandra and John Uri Lloyd’s Etidorpha, I would want to believe that the imagined place from which these specimens originate would also allow them to thrive and grow to fantastic size. If the illusion is complete, please think of them as the younger of the species, provided not merely to delight the curious but to educate and inform in the manner of an exhibit in a natural history museum. On a final note, all of these specimens share the common feature of being based on a “ring” form, something to be worn on the hand, which is drawn from the idea of hand gestures. Although hand gestures are often regarded as mimed versions of spoken communication, they can imitate, amplify, substitute, and even contradict speech. Implied hand gesture here reveals the space and time dimension of a narrative within the pieces and their imagined origin.