The Cell Wall: IBB Atrium Artwork
Purpose
The atrium space reaches three stories high with a central spiral staircase. The artist wanted to create a vibrant focal point that would draw attention into the high-tech atrium, around and through the suspended metal staircase, and enliven the space.
Scale
The panels occupy twelve feet by twenty-four feet and float four inches in front of a charcoal grey textured background adding a dimensional quality to the wall. The artist chose to build some interruptions of her own as it is impossible to view the image in its entirety from many areas of the atrium. By separating the panels from one another, each panel could be seen as an independent design. This creates a sense of discovery when the whole picture emerges, much as a researcher experiences that moment when the pieces of a scientific puzzle join together and form the big picture. The cell, which is normally microscopic, is magnified greatly suggesting that new perspectives may be required to solve problems in the future.
Symbols
The nine panels symbolize the nine neighborhoods housed in the building, each separate yet in close proximity. The outstretched hand reaches toward an egg cell, a sign of future life, floating just beyond the picture boundaries. The cells painted outside of the body come together to form a person. Actual cell types present in the human body are represented, including blood cells, ciliated epithelial cells, liver cells, and nerve cells. The figure has a strong classical look suggesting a solid foundation in past scientific tradition, yet could be interpreted as male or female, reflecting the increasing inclusive nature of science.
Materials and methods
The panels took the artist thirteen months to complete, from the initial design phase until the installation in October 1999. All of the non-figure areas have been painted with transparent washes of modern acrylic, reminiscent of microscope slides of stained cells. Numerous layers of color have been applied to provide texture and depth. Graphite shading emphasizes a classical foundation based on traditional medical illustration techniques. It was the artist's desire to use a wooden surface and to leave the figure unpainted, allowing the random imperfections in the grain to be visible on the human form — a reminder to accept human failings while striving for inspired greatness.
