In 2010 I went to my first Damien Hirst exhibition—POISON and REMEDIES—at the Gagosian gallery. I was mesmerised. The collaboration between science and art fascinated me and I knew this was to become the focus of my work. During my art degree, I found ways to incorporate the disciplines together and, upon watching a documentary about Alexander Fleming discovering penicillin from mould experimentation, my mesmerisation focused on the world of mycology.
Mould is thought of as a dangerous and disgusting health hazard, causing allergic reactions and respiratory problems. Whilst this is true, I found it ironic that the first-ever antibiotic was naturally produced from the Penicillium mold. I wanted to create a greater appreciation of moulds and fungi and overturn their hazardous stereotype. The only problem was that open moulds are dangerous: I had to find a way to admire mould safely.
Further research led me to artists such as Gemma Schiebe and Antoine Bridier-Nahmias who use different species of mould as paint to create “Petri-art.” However, I felt the best part of moulds, the natural shapes and colours which really excited me, were missing. For the next 4 years, my studio became a lab for growing mould. I spent this time studying moulds, trying to find the best way to preserve them, to make them safe to become artworks.
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