Yas Crawford

A TOPOGRAPHICAL PLAN

Developing a series of images that reflect the art in science has been a long-term goal of mine. I aim to foster multidisciplinary collaborations that challenge the norm and provide a safe space for exploring new research. This journey began with my experience as a student geologist mapping the Sub-Alps near Castellane and the Gorges du Verdon in the Hautes-Alpes region of France, armed with a 35mm film Pentax camera. The folding and gravity gliding structures of the La Batie Limestone mountains served as both a subject and a metaphor for my later research.

Who would have known that I would return to these images years later to launch an investigation into photographic "Mapping Projects"? These projects form the backbone of my visual art and photography, providing a framework to weave stories and ideas into my work.

MAPPING THEORY

Just as a cartographic map develops layer by layer, so does my research and creation of imagery. I draw inspiration from the evolution of mapping, tracing its development from one of the earliest known maps, "The Map of the World," compiled around 1300 in Lincoln and Hereford, to the sophisticated maps of the present day. Today, I incorporate elements of cartographic theory into the structure of my artwork, paralleling the evolution of the Enlightenment Period in the 17th and 18th centuries. During this time, there was a shift from literal visual representations to an increased production of complex maps that could be interpreted both literally and rhetorically.

By employing this method, I ensure that my work does not strictly define scientific concepts when dealing with biological subjects, nor linger excessively on opinion when exploring planetary geology. Additionally, I avoid defining individuals solely by their illnesses when considering the evolutionary impact of both biological and geological forces on humanity. This approach allows for a nuanced exploration of these themes, emphasizing the layered complexity of the subjects I choose to address.

THE BIOLOGICAL, GEOLOGICAL, AND EVOLUTIONARY (EVOLUTE) COLLECTION is a series of interconnected images that guide the visual experience through their relationships. Using a multidisciplinary and often collaborative approach, I combine various photographic and mixed media techniques to create these works. I envision the body, the project, and the concept as a map that develops and evolves around mapping theory.

Each collection in the series experiments with layering, deconstruction, and reconstruction, reflecting themes of fragility, geometry, and displacement. These works explore the boundaries between the human and the environmental, examining the impact of distortions on our well-being. The portfolio seeks to reveal the intrinsic and subliminal interplay between our internal and external worlds, much like the intersection of art and cartography in map-making.

The abstraction within the images offers a safe space for the audience to engage with the art. The ambiguity of the images often foreshadows the future, presenting complex scenes set in fluid-like environments that reflect the flow of time.

THE FUTURE is uncertain both biologically and geologically. As the world shifts and changes around us, we strive to anticipate and adapt to our environment. We seek to understand the impact of human behavior and our interactions with the world, including how technology and our socio-economic environment directly influence our future. We attempt to address these challenges through art, visually stimulating narratives, and collaboration with others. All we can do is keep trying.