Seeds of Life Project, 2006. Life Science Engineering building at Boston University.
Seeds of Life, 2006. Digital design on Kodak Endura paper, 72 x 120 inches.
Seeds of Life, 2006. Detail, right side.
Birth of the Blues, 2006. Digital design on Kodak Endura paper front mounted to Plexiglas, 60 x 60 inches.
Birth of the Blues, 2006. Detail left & detail center.
Under My Skin, 2006. Front-lit digital print on Kodak Endura paper, 60 x 60 inches.
Under My Skin, 2006. Two details.
Seeds of Life is the collective title for this series of digital prints commissioned for the lobby of the Life Science and Engineering building at Boston University. The three artworks in this project take the subject of evolution as their theme and inspiration. Technical innovation is at the heart of all scientific study today. The sequencing of the human genome is a good example of this. Recent progress in this field would have been impossible without the computer which is one of the reasons for choosing a digital methodology for making these artworks. The study of the human genome is at the heart of the project. To celebrate the new building the university decided to commission O'Donnell to make three site-specific artworks for the lobby.
The ten floor Life Science and Engineering building at Boston University is 187,000 gross square feet and was completed in 2005. It is located at 24 Cummington Street, Boston, between Cummington Street and the Massachusetts Turnpike. The building houses a group of scientific disciplines created to increase the university's capacity for interdisciplinary research and is one of the unique few in the country to arrange research according to research interests, rather than department affiliation. It has been the intention to have biologists, chemists, biomedical engineers, and bioinformatics researchers, graduate students, and undergraduates working side-by-side on investigations in genomics, proteomics, systems biology, and other areas of research that will shape science during the 21st century. To celebrate the new building the university commissioned Hugh O'Donnell to make these three site-specific artworks which are installed in the front lobby of the building.
This artwork, the largest of the three, references the passion of fundamental growth in all forms. Tens of thousands of genes find their own voice in a chorus of life and death genesis and apoptosis in a continuous song of regeneration. In the background of the work there are text references to the X and Y chromosomes on the right and to inherited genetic disorders on the left. The cursive script is an extract from, “A Process in the Weather of the Heart,” a poem by Dylan Thomas.
Seeds of Life is the collective title for this series of digital prints commissioned for the lobby of the Life Science and Engineering building at Boston University. The three artworks in this project take the subject of evolution as their theme and inspiration. Technical innovation is at the heart of all scientific study today. The sequencing of the human genome is a good example of this. Recent progress in this field would have been impossible without the computer which is one of the reasons for choosing a digital methodology for making these artworks. The study of the human genome is at the heart of the project. To celebrate the new building the university decided to commission O'Donnell to make three site-specific artworks for the lobby.
The ten floor Life Science and Engineering building at Boston University is 187,000 gross square feet and was completed in 2005. It is located at 24 Cummington Street, Boston, between Cummington Street and the Massachusetts Turnpike. The building houses a group of scientific disciplines created to increase the university's capacity for interdisciplinary research and is one of the unique few in the country to arrange research according to research interests, rather than department affiliation. It has been the intention to have biologists, chemists, biomedical engineers, and bioinformatics researchers, graduate students, and undergraduates working side-by-side on investigations in genomics, proteomics, systems biology, and other areas of research that will shape science during the 21st century. To celebrate the new building the university commissioned Hugh O'Donnell to make these three site-specific artworks which are installed in the front lobby of the building.
This artwork, the largest of the three, references the passion of fundamental growth in all forms. Tens of thousands of genes find their own voice in a chorus of life and death genesis and apoptosis in a continuous song of regeneration. In the background of the work there are text references to the X and Y chromosomes on the right and to inherited genetic disorders on the left. The cursive script is an extract from, “A Process in the Weather of the Heart,” a poem by Dylan Thomas.
Seeds of Life is the collective title for this series of digital prints commissioned for the lobby of the Life Science and Engineering building at Boston University. The three artworks in this project take the subject of evolution as their theme and inspiration. Technical innovation is at the heart of all scientific study today. The sequencing of the human genome is a good example of this. Recent progress in this field would have been impossible without the computer which is one of the reasons for choosing a digital methodology for making these artworks. The study of the human genome is at the heart of the project. To celebrate the new building the university decided to commission O'Donnell to make three site-specific artworks for the lobby.
The ten floor Life Science and Engineering building at Boston University is 187,000 gross square feet and was completed in 2005. It is located at 24 Cummington Street, Boston, between Cummington Street and the Massachusetts Turnpike. The building houses a group of scientific disciplines created to increase the university's capacity for interdisciplinary research and is one of the unique few in the country to arrange research according to research interests, rather than department affiliation. It has been the intention to have biologists, chemists, biomedical engineers, and bioinformatics researchers, graduate students, and undergraduates working side-by-side on investigations in genomics, proteomics, systems biology, and other areas of research that will shape science during the 21st century. To celebrate the new building the university commissioned Hugh O'Donnell to make these three site-specific artworks which are installed in the front lobby of the building.
There is a sense of evolution in the development of music that is holistic in that music touches all our senses. The principle of Mitosis and the division of a cell motivated the central configuration of these artworks. Within this form, instead of DNA, we see an extract from "Maple Leaf Rag" by Scott Joplin as an intertwining sequence of notes. This piece of music is one of the most seminal works responsible for quickening the development of Jazz. In both works Scott Joplin's Ragtime is interwoven with Cole Porter's "I've Got You Under My Skin".
Jazz evolved to deal with life's tragedies, to express pain and to overcome it. Jazz is referenced here as a kind of panacea, a philosopher's stone to help counteract those ancient human genetic inherited maladies that biotechnology has cataloged as the genes of the Morbid Map. The Morbid Map and the blues that it creates is the backdrop of these artworks.
Seeds of Life is the collective title for this series of digital prints commissioned for the lobby of the Life Science and Engineering building at Boston University. The three artworks in this project take the subject of evolution as their theme and inspiration. Technical innovation is at the heart of all scientific study today. The sequencing of the human genome is a good example of this. Recent progress in this field would have been impossible without the computer which is one of the reasons for choosing a digital methodology for making these artworks. The study of the human genome is at the heart of the project. To celebrate the new building the university decided to commission O'Donnell to make three site-specific artworks for the lobby.
The ten floor Life Science and Engineering building at Boston University is 187,000 gross square feet and was completed in 2005. It is located at 24 Cummington Street, Boston, between Cummington Street and the Massachusetts Turnpike. The building houses a group of scientific disciplines created to increase the university's capacity for interdisciplinary research and is one of the unique few in the country to arrange research according to research interests, rather than department affiliation. It has been the intention to have biologists, chemists, biomedical engineers, and bioinformatics researchers, graduate students, and undergraduates working side-by-side on investigations in genomics, proteomics, systems biology, and other areas of research that will shape science during the 21st century. To celebrate the new building the university commissioned Hugh O'Donnell to make these three site-specific artworks which are installed in the front lobby of the building.
There is a sense of evolution in the development of music that is holistic in that music touches all our senses. The principle of Mitosis and the division of a cell motivated the central configuration of these artworks. Within this form, instead of DNA, we see an extract from Maple Leaf Rag by Scott Joplin as an intertwining sequence of notes. This piece of music is one of the most seminal works responsible for quickening the development of Jazz. In both works I interweave Scott Joplin's Rag Time with Cole Porter's I've Got You Under My Skin.
Jazz evolved to deal with life's tragedies, to express pain and to overcome it. I refer to Jazz here as a kind of panacea, a philosopher's stone to help counteract those ancient human genetic inherited maladies that biotechnology has cataloged as the genes of the Morbid Map. The Morbid Map and the blues that it creates is the backdrop of these artworks.
Seeds of Life is the collective title for this series of digital prints commissioned for the lobby of the Life Science and Engineering building at Boston University. The three artworks in this project take the subject of evolution as their theme and inspiration. Technical innovation is at the heart of all scientific study today. The sequencing of the human genome is a good example of this. Recent progress in this field would have been impossible without the computer which is one of the reasons for choosing a digital methodology for making these artworks. The study of the human genome is at the heart of the project. To celebrate the new building the university decided to commission O'Donnell to make three site-specific artworks for the lobby.
The ten floor Life Science and Engineering building at Boston University is 187,000 gross square feet and was completed in 2005. It is located at 24 Cummington Street, Boston, between Cummington Street and the Massachusetts Turnpike. The building houses a group of scientific disciplines created to increase the university's capacity for interdisciplinary research and is one of the unique few in the country to arrange research according to research interests, rather than department affiliation. It has been the intention to have biologists, chemists, biomedical engineers, and bioinformatics researchers, graduate students, and undergraduates working side-by-side on investigations in genomics, proteomics, systems biology, and other areas of research that will shape science during the 21st century. To celebrate the new building the university commissioned Hugh O'Donnell to make these three site-specific artworks which are installed in the front lobby of the building.
There is a sense of evolution in the development of music that is holistic in that music touches all our senses. The principle of Mitosis and the division of a cell motivated the central configuration of these artworks. Within this form, instead of DNA, we see an extract from Maple Leaf Rag by Scott Joplin as an intertwining sequence of notes. This piece of music is one of the most seminal works responsible for quickening the development of Jazz. In both works I interweave Scott Joplin's Rag Time with Cole Porter's I've Got You Under My Skin.
Jazz evolved to deal with life's tragedies, to express pain and to overcome it. I refer to Jazz here as a kind of panacea, a philosopher's stone to help counteract those ancient human genetic inherited maladies that biotechnology has cataloged as the genes of the Morbid Map. The Morbid Map and the blues that it creates is the backdrop of these artworks.
Seeds of Life is the collective title for this series of digital prints commissioned for the lobby of the Life Science and Engineering building at Boston University. The three artworks in this project take the subject of evolution as their theme and inspiration. Technical innovation is at the heart of all scientific study today. The sequencing of the human genome is a good example of this. Recent progress in this field would have been impossible without the computer which is one of the reasons for choosing a digital methodology for making these artworks. The study of the human genome is at the heart of the project. To celebrate the new building the university decided to commission O'Donnell to make three site-specific artworks for the lobby.
The ten floor Life Science and Engineering building at Boston University is 187,000 gross square feet and was completed in 2005. It is located at 24 Cummington Street, Boston, between Cummington Street and the Massachusetts Turnpike. The building houses a group of scientific disciplines created to increase the university's capacity for interdisciplinary research and is one of the unique few in the country to arrange research according to research interests, rather than department affiliation. It has been the intention to have biologists, chemists, biomedical engineers, and bioinformatics researchers, graduate students, and undergraduates working side-by-side on investigations in genomics, proteomics, systems biology, and other areas of research that will shape science during the 21st century. To celebrate the new building the university commissioned Hugh O'Donnell to make these three site-specific artworks which are installed in the front lobby of the building.
There is a sense of evolution in the development of music that is holistic in that music touches all our senses. The principle of Mitosis and the division of a cell motivated the central configuration of these artworks. Within this form, instead of DNA, we see an extract from Maple Leaf Rag by Scott Joplin as an intertwining sequence of notes. This piece of music is one of the most seminal works responsible for quickening the development of Jazz. In both works I interweave Scott Joplin's Rag Time with Cole Porter's I've Got You Under My Skin.
Jazz evolved to deal with life's tragedies, to express pain and to overcome it. I refer to Jazz here as a kind of panacea, a philosopher's stone to help counteract those ancient human genetic inherited maladies that biotechnology has cataloged as the genes of the Morbid Map. The Morbid Map and the blues that it creates is the backdrop of these artworks.
Seeds of Life is the collective title for this series of digital prints commissioned for the lobby of the Life Science and Engineering building at Boston University. The three artworks in this project take the subject of evolution as their theme and inspiration. Technical innovation is at the heart of all scientific study today. The sequencing of the human genome is a good example of this. Recent progress in this field would have been impossible without the computer which is one of the reasons for choosing a digital methodology for making these artworks. The study of the human genome is at the heart of the project. To celebrate the new building the university decided to commission O'Donnell to make three site-specific artworks for the lobby.
The ten floor Life Science and Engineering building at Boston University is 187,000 gross square feet and was completed in 2005. It is located at 24 Cummington Street, Boston, between Cummington Street and the Massachusetts Turnpike. The building houses a group of scientific disciplines created to increase the university's capacity for interdisciplinary research and is one of the unique few in the country to arrange research according to research interests, rather than department affiliation. It has been the intention to have biologists, chemists, biomedical engineers, and bioinformatics researchers, graduate students, and undergraduates working side-by-side on investigations in genomics, proteomics, systems biology, and other areas of research that will shape science during the 21st century. To celebrate the new building the university commissioned Hugh O'Donnell to make these three site-specific artworks which are installed in the front lobby of the building.