Professor Rob Kesseler’s collaboration with the Royal Botanic Gardens, Kew
Submitting Institution
University of the Arts LondonUnit of Assessment
Art and Design: History, Practice and TheorySummary Impact Type
CulturalResearch Subject Area(s)
Information and Computing Sciences: Artificial Intelligence and Image Processing
Medical and Health Sciences: Neurosciences
Summary of the impact
Kesseler's research collaboration with scientists at The Royal Botanic
Gardens, Kew during his NESTA Fellowship (2002-2005) has allowed insights
previously only accessible to a small number within the scientific
community to reach a wide audience and impact on public understanding of
fruit and seed biology. Unlike other works on the subject that are solely
aimed at a scientific audience, the books Pollen: The Hidden Sexuality
of Flowers (2004), Seeds: Time Capsules of Life (2006) and Fruit:
Edible, Inedible, Incredible (2008) produced in collaboration with
Kew scientists Dr. Madeline Harley (Pollen) and Dr. Wolfgang Stuppy
(Seeds and Fruit) target a wider audience by revealing
beautiful complex forms and structures, via scanning electron micrographs
of fruits, seeds and pollen. The publications have found a worldwide
audience and the work has had an influence on education in schools.
Underpinning research
The underpinning research was produced by Kesseler whilst employed by
University of the Arts London (UAL) as Senior Lecturer in Ceramic Design
(now UAL Chair of Arts, Design and Science). Throughout his career,
Kesseler's work has focused on the appropriation of the natural within
contemporary culture, examining its impact on daily life through a wide
range of familiar materials and objects from ceramics to furniture,
drawing to photography. Over the past decade he has worked extensively
with botanical scientists at Kew exploring the creative potential of
microscopic plant material, producing the publications Pollen
(2004), Seeds (2006) and Fruit (2008). A defining feature
of the collaboration was that the work should be of the highest order,
meeting with peer approval from audiences within the fields of both plant
biology and art and design.
After training in microscopy techniques, Kesseler controlled the whole
process of creating the images. He identified and collected samples from a
range of UK and European flora, preparing them for the microscope by
mounting the samples and sputter coating them in platinum for examination
in the vacuum chamber. Selection of optimal focus for magnification and
orientation of the samples was critical in ensuring a stable result in
which the images convey a strong sense of three dimensionality. Extending
the existing canon of botanical representation, Kesseler examined
contrasting modes for depicting plants distinguishing the individual
approach of artists, scientists and illustrators, and challenged the
orthodoxies of conventional representation. He developed a collection of
images coloured to reveal specimens as powerful phytomorphic motifs,
producing 359 micrographs and 191 photograph images. The images are
painstaking, meticulous constructions that extend the potential of the
microscope beyond conventional boundaries, and in conjunction with imaging
software, reveal the structure and form of the specimens with great
clarity.
Intrinsic to the research is the development and use of colour as both an
informative and emotive tool. This approach goes beyond the limitations of
the `false colouration' characteristic of most science imaging, which
normally relies on colour enhancement software and requires limited user
intervention. Through colouration of the black and white images, Kesseler
highlights functional characteristics of the specimen via a process of
multiple layering, addition and erasure, introducing an artistic
sensibility intended to create a sense of awe, capture the imagination,
and extend user engagement. This revelation of the intricate structure,
forms and functions of botanical subjects, in conjunction with the texts
by Harley and Stuppy, creates new perspectives for both scientific and art
and design communities.
The key findings that underpin the impact outlined in this case study are
as follows:
- Revelation of new perspectives on the structure, characteristics,
functions and form of botanical specimens.
- Extension of the canon of botanical representation challenging the
orthodoxies of conventional representation.
- Contribution to the understanding and appreciation of organisms vital
to the preservation of bio-diversity.
References to the research
1) Kesseler, R. and Harley, M. (2004) Pollen: The Hidden Sexuality of
Flowers. Papadakis Publishers [Artefact]. UAL on request.
2) Kesseler, R. and Stuppy, W. (2006) Seeds: Time Capsules of Life,
with Foreword by HRH Prince of Wales. Papadakis Publishers [Artefact]. UAL
on request.
3) Kesseler, R. and Stuppy, W. (2008) Fruit: Edible, Inedible and
Incredible. Papadakis Publishers. [Artefact]. Listed in REF2.
Kesseler received support from the Nesta Fellowship programme to
undertake research in collaboration with the Royal Botanic Gardens, Kew.
In 2007, Pollen: The Hidden Sexuality of Flowers and Seeds:
Time Capsules of Life won a Gold Medal at the Independent Publisher
Book Awards in New York, category Outstanding Books of the Year.
Details of the impact
The images created by Kesseler during his work with Kew are visually
stunning and bring about engagement with the subject, resulting in impact
on public understanding of plant biology. The books Pollen, Seeds
and Fruit, are specifically designed to appeal to the wider public
with the further aim of increasing public understanding and support for
the conservation work of the Royal Botanic Gardens, Kew and the Millennium
Seed Bank Partnership (the largest ex-situ plant conservation project in
the world). The reach of Kesseler's impact is evidenced by sales figures
and media coverage of his work, and its significance by the importance of
the research to scientific, publishing, educational and creative
communities.
Kesseler's images enable what was only previously accessible to a small
number within the scientific community to reach a global audience. On
Kew's website, Stuppy describes the images produced as a `key
attraction of the books'. In 2012, images from Seeds were
used as part of a Kew produced documentary Beyond the Gardens: The
Millennium Seedbank Partnership which has been viewed by c. 9,500
people on YouTube. In 2011 Jonathan Drori (Trustee of the Royal Botanic
Gardens Kew) utilised Kesseler's images in two TED Talks; Every Pollen
Grain has a Story and The Beautiful Tricks of Flowers. On
the TED platform these talks have been viewed over 660,000 times. TED
states that the number of total views across all platforms (YouTube,
downloads etc.) is typically double this figure. The Head of Seed
Conservation Department & Millennium Seed Bank writes `His
[Kesseler's] colourful, crafted images have become compelling icons that
reassert the beauty and diversity of the plant world and capture the
imagination of wide audiences, including people who do not have a
particular interest in plants. The beautifully illustrated books [...]
have brought new audiences to the important work we do and have become
recognised by our partners internationally.'
Kesseler's work has been the subject of exhibitions at Kew intended to
inspire new audiences and raise awareness of the important work being
undertaken. Kew's Galleries and Exhibitions Leader commented on the `remarkable
use of imagery' saying it has `captivated visitors and was a
powerful vehicle to highlight some of the significant "behind the
scenes" science that is not widely known.' Canopy — a new Micrographia
took place in The Nash Conservatory (05/2008-09/2008). During this period
598,000 people visited Kew and it is estimated that 15% to 20% would have
seen the exhibition (Source: Kew), which was reviewed in New Scientist.
This exhibition was subsequently modified and displayed at the Millennium
Seed Bank (MSB), Wakehurst Place, Kew (05/2009-01/2011). Wakehurst Place
has nearly 400,000 visitors per year and Kew estimate that between 10% and
20% visit the Seed Bank. Designer Thomas Heatherwick became aware of
Kessler's work when visiting MSB and has said `Whilst researching
ideas for what became known as the Seed Cathedral, the British Pavilion
at the Shanghai Expo, 2010, I visited the Millennium Seed Bank at Kew
where I became aware of the work the artist Rob Kesseler had been doing
with seed morphologist Wolfgang Stuppy. His stunning colourful images of
microscopic seeds and pollen were truly inspirational and revealed how
their complexity and diversity exists even on the most minute scale.'
Eight images of seeds by Kesseler have been on permanent display at the
MSB since 2009.
The publications Pollen, Seeds and Fruit have found a
worldwide audience. The reach of Kesseler's research impact is evidenced
by sales figures for the publications, averaging c. 25-30,000 per title
(source: Papadakis). In 2009 The Bizarre and Incredible World of
Plants was published, bringing together elements of all three
previous publications in one volume. The books have been translated into
seven languages and foreign co-editions have been published in USA/Canada,
Germany, Spain and Japan. French and Chinese editions of The Bizarre
and Incredible World of Plants have been published in France, Taiwan
and mainland China, respectively. Pollen is currently in its third
edition and second editions of Seeds and Fruit have been
published. In May 2011 Seeds featured in the list of top 10 botany
books in The Times' special science supplement Eureka
magazine, and in 2009 the German edition of Pollen was awarded the
prize for the most beautiful book of the year by Wissenschafts BDW,
Germany. In 2010 Up Close was published by Papadakis, an extensive
survey of Kesseler's work from the past twenty-five years. It is `[...]
undoubtedly Professor Kesseler's striking and groundbreaking work that
has led to the popularity of this series of books [..] which is
recognisable and much admired throughout the publishing world' the
series `[...] has led our publishing house to pursue new lines in
publications and we have since developed a very strong line in nature
and natural history.' (Publishing Director, Papadakis). An image
from Fruit features on the cover of the Papadakis Autumn 2011
Catalogue, a further indicator of the continuing importance of Kesseler's
body of work to his publishers.
The publications have received much attention in the press, both in the
UK and abroad. During 2008 the work was the subject of a BBC News Website
feature, had a centre page spread photo feature in The Guardian, received
an illustrated feature in The Telegraph, was the subject of an article in
Kew Magazine, and featured in Time Magazine, who described Fruit
as `a spectacular new book of botanical architecture.' In 2008 Fruit
was the subject of a cover feature and lead article for Infocus magazine
(the proceedings of the Royal Microscopical Society). In addition Nesta's
celebration of 10 years of Fellowships in 2011, featured an interview with
Kesseler and utilised images from the publications. In
November 2012 an article Amazing Close-ups of Seeds was published
on the Smithsonian blog giving an overview of the work of Kesseler and
Stuppy against the background of the MSB at Kew. `The Millennium Seed
Bank is a global seed garden of epic proportions. By 2010, the project
had amassed about 10 percent of the world's 400,000 plant species, and
the trajectory is to reach 25 percent by 2020. Wouldn't you like to see
it? The vault itself, of course, is hidden from the public eye. But,
MSB's seed morphologist Wolfgang Stuppy and visual artist Rob Kesseler
have come up with a clever workaround.' In May 2013 an article on
Kesseler's work was published in Design Bureau Magazine (US).
In Nov/Dec 2011 Primary Science recommended Kesseler's work as a
starting point for teachers in the classroom in the article Drawn
Together: Linking Science and Art and The Millennium Seedbank saying
`the work of artist Rob Kessler [...] is inspirational in revealing the
detail of natural forms.' He contributed to the Skills in the
Making Workshops (2009-2012) organised by The Making, and
his work is cited as a resource for inspiration in their publication Working
with Craft across the Curriculum (supported by the Paul Hamlyn
Foundation). AD magazine (the magazine for National Society for Education
in Art and Design) ran
an illustrated article showing how Kesseler's work has
been used as part of a project within the School of Education at the
University of Brighton, developing new curriculum approaches to art and
science in schools. Here students were introduced to Kesseler's work as an
illustration of the potential of making connections between science and
art (Spring 2012, Issue 4). In 2013 AD magazine (Spring 2013, Issue 7)
published an article by Kesseler Awe — A personal approach to looking.
The cover of this edition featured an image from Fruit and the
article was accompanied by a specially designed pull-out poster. In 2012
Kesseler's images were reproduced in a US textbook What is Life? A
Guide to Biology by Jay Phelan (W.H Freeman Publishers) where they
were used to accompany chapters on growth and reproduction in plants and
the common structural features of plants.
As a direct result of the underpinning research outlined above Kesseler
was awarded a Fellowship with the Instituto Gulbenkian Ciencia, Oeiras,
Portugal, instigated by the Calouste Gulbenkian Foundation London as part
of the Year of Bio-Diversity 2010. Here he was invited to work with the
molecular biologists at the Gulbenkian Science Institute and produced Jardim
Porcelânico, a body of work focusing on the cellular structures of
Portuguese wild flora and continuing exploration of the themes of
accessible presentation of the process of science developed at Kew. Jardim
Porcelânico was selected for inclusion in the AWARD at the
Potteries Museum and Art Gallery, Stoke-on-Trent as part of the British
Ceramics Biennial in 2011. Kesseler was invited to contribute to Ceramic
Review Magazine, where he authored a feature on Jardim Porcelânico,
and the work was the subject of an interview in Nature magazine. Work
undertaken during the fellowship was showcased at Petals, Pixels and
Plates — an artist in the laboratory, a one day solo exhibition at
Sala Verde da Estação Agronomica Nacional, Oieras, Portugal in celebration
of International Plant Fascination Day — a worldwide initiative adopted by
39 countries, with events taking place at 580 institutions ranging from
botanical gardens to plant research centres.
Sources to corroborate the impact
Impact on public understanding of plant biology and dissemination of
the work of Kew:
-
Amazing Close-ups of Seeds (Nov 2012) on Collage of Arts and
Science, Smithsonian.com can be found at http://blogs.smithsonianmag.com/artscience/2012/11/amazing-close-ups-of-seeds
- Bizarre and incredible world of fruit and nuts (Sept 2008) The
Telegraph can be found at http://www.telegraph.co.uk/earth/earthnews/3350676/Bizarre-and-incredible-world-of-fruit-and-nuts.html
`The pictures were taken using an electronmicroscope which uses
focused beams of electrons to create hugely magnified images. It
produces bizarre and incredible shapes and textures offering a rare
insight into a fascinating and mysterious world.' Includes 11
images from Fruit.
- TED Talk by Jonathan Drori
http://www.ted.com/talks/jonathan_drori_every_pollen_grain_has_a_story.html
- BBC News Website slideshow can be viewed at:
http://news.bbc.co.uk/1/hi/sci/tech/7591649.stm
- Statement from Head of Seed Conservation Department & Millennium
Seed Bank, Royal Botanic Garden's Kew. UAL on request.
- Statement from Galleries and Exhibitions leader, Royal Botanic
Gardens, Kew. UAL on request.
Impact on publishing and audience reach:
- Statement from Publishing Director, Papadakis Publishers. UAL on
request.
- Seeds in Top 10 Botany Books in The Times' magazine Eureka
(May 2011) http://news.papadakis.net/titles/seeds-in-eureka/
Impact on education:
- Statement from Editor of AD magazine (the magazine for the
National Society for Education in Art and Design). UAL on request.
- Kesseler in The Making's Working with across the Curriculum
http://www.themaking.org.uk/Content/our_programme/Skills/teaching%20resources/Working-with-Craft-across-the-Curriculum.pdf
and at http://www.nsead.org/craft/curriculum.aspx