Superposition: physicists and artists in conversation

Gold diamante encrusted eggs

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To the OXO tower I trekked and out the back found an amazing exhibition space, The Bargehouse, which I must have passed by 100 times without knowing it existed - what a stunning building. Lyndall's work stood in an alcove on the second floor; stacks of egg boxes with gold diamante encrusted eggs. I was unsure how to approach the piece at first as it looked juxtapositioned in that industrial space, but as Lyndall explained the piece, its meaning and her process behind creating it I was drawn in. I got to see a finished piece and through this understand the process through which Lyndall works, the information she extracts and the ways in which that information is portrayed in her pieces.

I also really enjoyed exploring the Bargehouse with her - we sneaked a peak at the upper floor - derelict and eerie. I love exploring new spaces and I feel Lyndall shared the same interest.

Credit: Photography Richard Davies

Ben

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Giant machines

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In the past I have worked with designers and illustrators and was struck by how different the two professions were, talking as a naive scientist, but both were adamant they were not artists. So what would an artist be like? As soon as I met Lyndall I knew it would be fun working with her. We immediately started chatting, about what I thought was the most visually impacting area of my research - the detectors. Giant machines designed to image the smallest things in Nature. I knew that Super-Kamiokande would wow, as it does everyone who sees it. Lyndall had a real hunger for understanding every aspect of not only Super-K but all other detector technologies - this was my first homework.

Ben

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