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works

https://api.wellcomecollection.org/catalogue/v2/context.json

"Wound Man and Wound Woman take direct influence from medieval Wound Man illustrations. These drawings indicated the often brutal injuries that can afflict the human body for the benefit of surgical pioneers of the age. There were many variations on this subject, mostly created throughout Northern Europe from the fifteenth century onwards. The brutality of the imagery persists in my 21st century versions, reflecting contemporary concerns of crime and disease as well as acknowledging the history and tradition of anatomy drawing. Fragility and strength, resilience and weakness illustrate the dual nature of the human condition--our ability to damage, but also to heal."--Euan G. Stewart

1 print : inkjet print ; sheet 90 x 60 cm

A wound man. Inkjet print by Euan Stewart, 2010.

A wound woman. Inkjet print by Euan Stewart, 2010.

A collage of buttons, jewels, coloured papers, newspaper headlines etc. arranged in human form, captured visually as a digital file and printed by inkjet on paper with sparkling appliqué decorations

1 print : inkjet on paper, with appliqué jewellery ; sheet 42 x 29.7 cm +

Self-portrait. Colour inkjet print by Chila Kumari Burman, 2009.

47 pages : illustrations (chiefly color) ; 21 cm

The atlas of water damage on inkjet-printed fine art / by Meghan Connor and Daniel Burge.

1 print : inkjet print ; sheet 29.8 x 20.2 cm

Keith Smith, a basketball player subject to epilepsy; representing the sporting abilities of an epileptic man. Inkjet print, 1995.

A similar design, published as a poster to mark National Epilepsy Week (Wellcome Library no. 2016640i), identifies the barrister as Susan Castle

1 print : inkjet print ; sheet 29.7 x 20.4 cm

Susan Castle, a barrister subject to epilepsy, standing in a colonnade; representing the professional abilities of an epileptic woman. Inkjet print, 1995.

An opening of a Filofax with two rings, showing a human head coloured in brown on the recto and data receding to green margins on the facing verso

1 print : inkjet print, drop on demand, printed in colours ; image 16.2 x 32.2 cm

Data and a mind separated on two facing pages of a Filofax; representing loss of memory. Colour inkjet print by Anthony Whishaw, 2004.

1 print : inkjet print, drop on demand, printed in colours ; image 17.7 x 34.4 cm

A head in profile to right, trying to recall memories, which are isolated in the right margin. Colour inkjet print by Anthony Whishaw, 2001.

An opening of a Filofax with five rings and jagged pages, on which a human skull and brain in profile to left are depicted over two pages, surrounded by chemical and biochemical symbols, benzene rings etc. and marginal strips of data

1 print : inkjet print, drop on demand, printed in colours ; image 17 x 34 cm

Data surrounding the mind in red and brown fields, with some data lost to the margins; representing loss of memory. Colour inkjet print by Anthony Whishaw, 2001.

1 print : inkjet print ; sheet 41 x 28.7 cm

Ian Palmer, a canoeist, subject to epilepsy, in a canoe next to a woman canoeist; representing the sporting abilities of an epileptic man. Inkjet print, ca. 1996.

1 print : inkjet print, printed in colours, with hand-colouring ; image 17.2 x 34.8 cm

Three pages of a Filofax: centre, a head in darkness facing both ways, looking to left, towards data receding to the margins of a red-brown field, and looking to right, towards a page of intact data; representing memory. Coloured inkjet print by Anthony Whishaw, 2004.

This is a set of 20 prints based on fMRI scans of the brain (functional Magnetic Resonance Imaging). Brain scans are designed to reveal what is going on in the brain. However they only show anatomy and physiology. The "functions" which they show are functions of the structures, rather than functions of the person. The artist wondered "What do they show of the identity of the human being?". Her answer is to enrich the scans with aspects of life which are absent from them
Her first attempt to render this theme took the form of a collage the same size as a brain scan (44 x 35 cm.) called Cogito ergo sum 1. The suggestion was made that the serial nature of brain scans made them suitable for a set of works: MRI scans that show the imagination at work. The subject was too intricate for silkscreen printing, and the decision was made to use digital printing, with the aid of Christopher Gibbs as digital master printer.
The brain scans were made at the Wellcome Trust Centre for Neuroimaging at UCL (http://www.fil.ion.ucl.ac.uk/About/ ). They were offering research brain scans for £10 and a mug!. The artist undertook to have one. The people being scanned had to lie in the noisy machine and were asked to reply in whispers to questions, for instance about the difference between natural and artificial objects such as a carrot and a fork. The scans were supplied to Susan on disk and on film by Dr Andrea Mechelli
The artist took the films which had photographic emulsion on one side, and worked in the emulsion with a scalpel, then rescanned the worked films at 2,100 dpi. The scans were reworked with colour using Photoshop brushes, including brushes created for the purpose. They were then printed on a digital printer using seven colour inks. The files for each print take 20 minutes to load as they are large digital files took to load on the screen
Views of the brain that are similar to MRI brain scans but have been manipulated by printmaking techniques to insert aspects of human personality that are considered to be not detectable by scientific and technological methods. They can be seen as visual expressions of scepticism about "neuromania", the exaggerated identification of neurological causes of mental and emotional activity, as discussed in e.g. Alva Noë, Out of our heads: why you are not your brain, and other lessons from the biology of consciousness (New York 2009); and Raymond Tallis, Aping mankind: neuromania, Darwinitis and the misrepresentation of humanity (Durham, 2011)

20 prints : giclée prints, printed in seven colours ; images approximately 34.5 x 34.5 cm

The brain. Colour giclée prints by S. Aldworth, 2011.

'"The Patient" explores the reductive practices within hospitals and the effects that this has upon individuals and their behaviours. The patient's identity becomes based on their state of health and through this process can become a subject of it. I believe that hospital practices encourage a more submissive attitude from the patient and encourage the transfer of control from themselves to those who are employed to take charge of the patient's body. I hope to question who holds control over our bodies and our health'--statement by the artist, 2004

1 print : giclée print ; image 57 x 47.7 cm

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A wound man. Inkjet print by Euan Stewart, 2010.

A wound woman. Inkjet print by Euan Stewart, 2010.

Self-portrait. Colour inkjet print by Chila Kumari Burman, 2009.

The atlas of water damage on inkjet-printed fine art / by Meghan Connor and Daniel Burge.

Keith Smith, a basketball player subject to epilepsy; representing the sporting abilities of an epileptic man. Inkjet print, 1995.

Susan Castle, a barrister subject to epilepsy, standing in a colonnade; representing the professional abilities of an epileptic woman. Inkjet print, 1995.

Data and a mind separated on two facing pages of a Filofax; representing loss of memory. Colour inkjet print by Anthony Whishaw, 2004.

A head in profile to right, trying to recall memories, which are isolated in the right margin. Colour inkjet print by Anthony Whishaw, 2001.

Data surrounding the mind in red and brown fields, with some data lost to the margins; representing loss of memory. Colour inkjet print by Anthony Whishaw, 2001.

Ian Palmer, a canoeist, subject to epilepsy, in a canoe next to a woman canoeist; representing the sporting abilities of an epileptic man. Inkjet print, ca. 1996.

Three pages of a Filofax: centre, a head in darkness facing both ways, looking to left, towards data receding to the margins of a red-brown field, and looking to right, towards a page of intact data; representing memory. Coloured inkjet print by Anthony Whishaw, 2004.

The brain. Colour giclée prints by S. Aldworth, 2011.

A patient anonymised by hospital life. Colour giclée print by Emily Brown, 2004.

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A wound man. Inkjet print by Euan Stewart, 2010.

A wound woman. Inkjet print by Euan Stewart, 2010.

Self-portrait. Colour inkjet print by Chila Kumari Burman, 2009.

The atlas of water damage on inkjet-printed fine art / by Meghan Connor and Daniel Burge.

Keith Smith, a basketball player subject to epilepsy; representing the sporting abilities of an epileptic man. Inkjet print, 1995.

Susan Castle, a barrister subject to epilepsy, standing in a colonnade; representing the professional abilities of an epileptic woman. Inkjet print, 1995.

Data and a mind separated on two facing pages of a Filofax; representing loss of memory. Colour inkjet print by Anthony Whishaw, 2004.

A head in profile to right, trying to recall memories, which are isolated in the right margin. Colour inkjet print by Anthony Whishaw, 2001.

Data surrounding the mind in red and brown fields, with some data lost to the margins; representing loss of memory. Colour inkjet print by Anthony Whishaw, 2001.

Ian Palmer, a canoeist, subject to epilepsy, in a canoe next to a woman canoeist; representing the sporting abilities of an epileptic man. Inkjet print, ca. 1996.

Three pages of a Filofax: centre, a head in darkness facing both ways, looking to left, towards data receding to the margins of a red-brown field, and looking to right, towards a page of intact data; representing memory. Coloured inkjet print by Anthony Whishaw, 2004.

The brain. Colour giclée prints by S. Aldworth, 2011.

A patient anonymised by hospital life. Colour giclée print by Emily Brown, 2004.

Stay in the know

Wellcome collectionWellcome Collection

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Opening times:

Today's opening times

Wellcome collection