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Jeff Wyckoff

Elizabeth Brown

Margarita Cabrera

CB Cooke

William Crow

Tatiana Garmendia

Tina Gonsalves

Jonathan Gottlieb

Patrick Jacobs

Reuben Negrón

Friederike Paetzold

James Paterson

Marcus Pinto

Tina La Porta

C.E. Washington

Eric Wielosinski

Anne Willieme

Sheri Wills

Virgil Wong

  • Jeff Wyckoff

  • Jeff Wyckoff

    Jeffrey Wyckoff, Intravital Imaging: God is a DJ, video, 1999

    About the Artist
    An excerpt from
    "A Pendulum Motion between Art and Science"
    by Hilde Van Gelder

    Jeffrey Wyckoff uses his own scientific findings as a medium to make works of art. Science to him is a tool. It is the smallest common denominator out of which grows an extremely varied artistic production. When he employs traditional artistic media such as those of drawing, painting, sculpture and photography, science is used as their subject matter. Reversely, when Wyckoff works with scientific materials like microslides and petri dishes, the images that are transferred onto them contain references to the history of photography and of art in general.

    The particular richness of Wyckoff's work comes forth out of this permanent oscillation and interchange between two very different systems in our society: science and art. Fascinated by the chaotic beauty of the microscopic, he translates these impressions to macroscopic images. On this ordered level, the blown-up scientific elements operate as aesthetic works of art, and have become part of a different system of meaning.

    For example, the silkscreens representing enlarged cells have the subtle coloristic effect of an abstract painting. Not only is science experienced as art, but art also is seen as a science. Wyckoff skillfully explores all available artistic media as a kind of laboratory to his unique disposition to question and transpose the traditional meaning attached to the labels of science and art.

    Wyckoff's work constantly displaces meanings. The beauty of his radiographic polaroids, for example, turns out to be particularly disturbing when one realizes that its subject matter is actually blown-up cancer cells. This contradiction between our feelings and knowledge is eventually overpowered by a gradual rise towards an "unrepresentable" infinity. This sublime strategy seems to fit Wyckoff perfectly: the excess in representation (the repetitive and obsessive artistic display of similar elements) is caused paradoxically by the necessity to find a means of representing the excess (the microscopic world). [website] [e-mail]

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