The subtle forms of jellyfish are delicately caught in these works, as if they were floating in air. These works relate to the computational model of sharks by Mike Paulin, the floating cyanobacteria of Hideo Iwasaki and the reference to animals in Janet Laurence’s work. Lighting is also a key factor.
One other reason for the inclusion of the Medusae was to reinforce a sense of multiple scales in the exhibition. In scaling terms, smallest are the bacteria by Hideo Iwasaki and the electronics of Pierre Proske and Damian Stewart, then there are these jellyfish by Pincus, the objects selected by Janet Laurence, up to the human scale of the Josh Wodak works and Mike Paulin’s shark. The landscape is referenced in the works by Tracey Benson, Darko Fritz, Nigel Helyer and Trudy Lane. Kura Puke’s LED works point to the stars, as does the galactic wind work by Nina Czegledy and collaborators, and finally “Te Taiao Maori (the Maori universe)” by Te Huirangi Waikerepuru has vast scales of space and time.