Catherine M. Stewart

 Natural Affinities

In this series of photo-etchings I present for consideration a visual exploration of the multi-layered affinities between the human and non-human inhabitants of this planet. Through the pairing of images of the human body with those of a variety of zoological specimens, my intention is to evoke a sense of empathetic connection between Homo sapiens and other species.

For the original exhibition of this series, I suspended the photo-etchings between two pieces of plexi-glass placed on a ledge attached to the gallery wall. The photo-etchings, printed on semi-transparent Japanese Kozo paper, reference thinly sliced biological specimens mounted between slides ready for careful examination under a microscope. I have also mounted some of the prints on printmaking paper that can then be framed in a traditional manner (varied edition sizes).

(Read full artist’s statement at the end)

ARTIST’S STATEMENT

“Let it be borne in mind how infinitely complex and close-fitting are the mutual relations of all organic beings to each other and to their physical conditions of life.”
Charles Darwin, On the Origin of Species, 1859

As extinction rates rise in response to global warming, humankind is beginning to realize how interconnected we are with the natural world and to consider, perhaps for the first time, our own vulnerability as a species.

In this series of photo-etchings, entitled Natural Affinities, I present for consideration a visual exploration of the multi-layered affinities between the human and non-human inhabitants of this planet. Through the pairing of images of the human body with those of a variety of zoological specimens, my intention is to evoke a sense of empathetic connection between Homo sapiens and other species.

Some combinations, such as the owl claws and hand x-rays as well as the jumping child and grasshopper, refer directly to the similarities between our own physical structure and that of other earthly creatures. In others, such as the wedding couple and pheasants, the dialogical connection between the two images is more qualitative in nature. However, in all the works there is a unified theme of shared corporeal existence. The image of a wood thrush specimen lying supine in a box, when paired with the medical chest x-ray, brings to mind our common physical frailties and the universal need for clean air. The delicate folds in the Luna Moth parallel the fine lines in the dermatome diagram of the human nervous system. The matching of images of rodent teeth, bat wings, and mammalian vertebrae with their related human structures reminds us of our distant origins and basic animal nature.

For the original exhibition of this series, I suspended the photo-etchings between two pieces of plexi-glass placed on a ledge attached to the gallery wall. The photo-etchings, printed on semi-transparent Japanese Kozo paper, reference thinly sliced biological specimens mounted between slides ready for careful examination under a microscope. I have also mounted some of the prints on printmaking paper that can then be framed in a traditional manner (varied edition sizes).

This body of work was first presented in 2007 as part of a two artist exhibition, “The Animal That Therefore I Am”, at Malaspina Printmakers Gallery, Vancouver BC and then in 2008 as part of a group exhibition, Footprint, at Campbell River Art Gallery.

Review by Ruth Beer on NATURAL AFFINITIES, Chop Newsletter

Copyright © 2022 Catherine M. Stewart. All rights reserved.