Nanotopia // Tosca Teran


 

Tosca Teran’s work draws from her fascination with the artistic representation of natural history, the creation of fictitious places in literature and her interest in Cordyceps, Lichen and Phytoplankton. In particular, Tosca is drawn to Cordyceps Unilateralis, a species of entomopathogenic fungus that infect and alter the behavior of ants in order to ensure the widespread distribution of its spores. 

Phytoplankton account for half of all photosynthetic activity on Earth. They are therefore responsible for much of the oxygen present in the atmosphere—half of the total amount produced by all plant life. Similar to how Cordyceps infect and alter Leaf cutter ants, how might Phytoplankton infect and alter Human behavior?

Transgenic Heart: Life-size Human heart, sterling silver, vitreous enamel from 'Orbis Tertius' installation.

Transgenic Heart: Life-size Human heart, sterling silver, vitreous enamel from 'Orbis Tertius' installation.

Jökulsárlón Chopines: Lost wax cast lead crystal (glass), reindeer leather, LEDs, lichen, moss, sand, kelp from 'BEAST' performative piece

Jökulsárlón Chopines: Lost wax cast lead crystal (glass), reindeer leather, LEDs, lichen, moss, sand, kelp from 'BEAST' performative piece

Perelandrian ring: Sterling silver, flame-worked soda lime glass from 'Descent to Perelandra' installation

Perelandrian ring: Sterling silver, flame-worked soda lime glass from 'Descent to Perelandra' installation

Experimenting with various materials, Tosca is building a body of work with the goal of creating an installation depicting the 'spaces in-between' that investigates the invisible molecules that surround us, such as air.

Drawing from 400x imagery of Phytoplankton, Zooplankton, Radiolaria and Melethallia to create three-dimensional sculptural representations, Tosca’s sculptural forms manifest primarily in metal and glass as well as clay and textiles. In her work, she incorporates photographic emulsion lifts and field recordings, as well as sound samples triggered through touch, light, proximity.

As it was, as it is, as it shall be again
Móðurfaðir
 
Löngu áður en jörðin var sköpuð var til heimur sem heitir Niflheimr langt, langt til norðurs. Svæðið var kalt og heimurinn var myrkur og kaldur eins og dauðinn. Í miðjum heiminum liggur mikill brunnur sá er Hvergelmir heitir og þaðan af falla ellefu ár uppfullar af eitri í vatninu. Ár þær eru kallaðar Élivágar og þá er þær voru langt komnar frá uppsprettunni harðnaði eitrið og varð að ís en móðan fraus og varð að hrími. Milli þessara heima var tóm, tómið mikla og það heitir Ginnungagap.
***
Long before Earth was created, there was a world called Niflheim, far, far away in the north. This was a chilly region, and the world was dark and deathly cold. In the middle of it lay a great well called Hvergelmir, out of which eleven rivers flowed with poison running in their waters. These rivers were called Elivogar, and when they flowed far from their source the poisonous materials hardened to ice and the spray from the waves turned to frost. Between these worlds was the void, the great void and it was called Ginnungagap.
 

 

 

 

 

[ visual art ]


 

Tosca Hidalgo y Terán is a multi-disciplinary artist who works with metal, glass, and biomimicry. Her work explores terrestrial manifestations by combining tactile, sculptural forms, and audio. She creates immersive environments, unnatural history dioramas, and performative, wearable structures that question human origin and mythos. Her ‘jewelry’ serves as maquettes and further experiments towards her sculptural work. Through her own representational language, be it obvious or obscure, Tosca seeks to engage the psyche. By employing that which may be real or imagined, she suggests a believable structure, yet one that is not necessarily rational.

Tosca is returning to Gler í Bergvík studio in Reykjavík this November to teach workshops in flame-working glass and metal.

www.toscateran.com | www.nanopod.tv | https://soundcloud.com/nanotopia | www.nanopod.me

 

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