Art Inspired by Science
Creative responses to scientific images
2025
An online exhibition of creative responses to scientific images of biological systems.
Responses from professional artists and community artists are displayed alongside the scientific images. This invites reflection on the intriguing parallels between exploration and creativity in science and art.
The biological images on display were collected by Dr Robert Banks during a career teaching and researching at the forefront of his field. His research into comparative neuroscience explores the structures and processes at the junction between muscle and nerve cells and is internationally celebrated. For more information about Dr Banks's research, explore the links below to his recent publications and review articles below.
A nerve cell, or neuron, from the cortex of the cerebellum
There are many hundreds of different types of neuron in the nervous system, of which this, the Purkinje cell, is just one example. Its body, or soma, contains the cell’s nucleus and is the dark blob near the bottom of the image. The very extensive, tree-like branches arising from the soma, the dendrites, receive synaptic input from thousands of other neurons. The dendrites and soma integrate the information to produce an output in the form of nerve impulses that travel away from the soma along the axon, the start of which is just visible on the lower right of the soma. The Purkinje cell has been visualised by the Golgi method that more or less randomly stains a few neurons with a silver chromate precipitate, leaving the majority unstained.
The cerebellum is a large part of the brain, and most of its complex functions are automatic. Disease of, or damage to, the cerebellum is often associated with loss of normal motor control.
Microscopy image of a Purkinje cell, Courtesy of Dr R W Banks
Microscopy image of a Purkinje cell, Courtesy of Dr R W Banks
Tree of Life
Juliet Williams
Created in response to the image of the Purkinje cell above. The same cell that Santiago Ramon y Cajal immortalised in his ink drawing a hundred and twenty-five years ago. Juliet responded to the dendritic repetitions in form and shape in nature at all scales; trees’ root and branch systems, the lungs, river systems.
Mistaken by a friend of the artist as the tree of life, the title was adopted as an apt title given the Purkinje cell’s function.
Pewter on Corten Steel
juliet@julietwilliams.net
@julietwilliams1708
Tree of Life, Juliet Williams
Tree of Life, Juliet Williams
Crow & Tree (or Dust of Snow by Robert Frost)
Marianne Wilde
Base ‘Tree’ Image - A nerve cell, or neuron, from the cortex of the cerebellum.
Cyanotypes were first introduced by the astronomer, scientist, and botanist John Herschel in 1842. Botanist and photographer Anna Atkins was the first to use the cyanotype to create a photographic album of algae specimens in 1843. The process involves combining ferric ammonium citrate and potassium ferricyanide to make an iron-rich sensitiser solution. As the sensitiser chemicals react to light when exposed, the coating process takes place in dim light. These chemicals are then exposed to UV light such as sunlight, which creates ferric ferrocyanide, also known as Prussian Blue.
Cyanotype on glass Petri Dish – Cyanotype Emulsion/Photographic Gela n/20 cm diameter Petri Dish
marianne@mariannewilde.com
https://www.axisweb.org/p/mariannewilde/
Crow & Tree (or Dust of Snow by Robert Frost), Marianne Wilde
Crow & Tree (or Dust of Snow by Robert Frost), Marianne Wilde
Microcosms
Sarah Calavera
Microcosms is a body of work that explores the intricate relationship between art and science, specifically focusing on the microcosmic worlds within the human body. The title reflects this concept: while the human body itself is often considered a microcosm, it is made up of countless little worlds—cells, nerves, and fibers—that create complex, interconnected systems. Each of these elements forms its own distinct, yet integral, universe within us.
Mixed media on canvas, Xuan rice paper, Gelli print, floral netting, text from Gray’s Anatomy book pages, assorted papers, distress inks
sarah.calavera.art@gmail.com
Instagram: @sarahcalavera
Microcosms, Sarah Calavera
Microcosms, Sarah Calavera
i
Maggie Parker
Eco-printing is a contemporary application of the traditions of natural dyeing. In eco-printing, plants are enclosed in paper, stacked in layers and then steamed or immersed in hot water to extract the pigments and produce a print made with plant dyes. Direct and close contact between the plant and the substrate is essential. Leaves, stems, flowers, buds, seeds and roots may be used; also bark and wood. At different seasons of the year, different pigments may concentrate in various plant parts so great colour variability is possible.
Inhabiting a studio space in Ushaw Historic Buildings and Gardens has inspired Maggie Parker’s art practice to continue to grow. Being constantly surrounded by creative people and the gardens and woodland areas has allowed the interaction with nature which is inherent within her art practice. She utilises the method of eco-printing to appreciate this beauty.
Eco-print on Watercolour Paper
i, Maggie Parker
i, Maggie Parker
Scanning electron microscopy (SBF-SEM) reconstructed image showing a section of a muscle spindle, courtesy of Dr R W Banks
Virtual reconstructions of the main (“primary”) sensory endings of seven spindles, made using serial sections for light microscopy, courtesy of Dr R W Banks.
Section of a Muscle Spindle
Muscle spindles are sense organs in skeletal muscles that respond to the length and changing length of muscles. They are extremely important in motor control. This image show a virtual reconstruction of a small portion of a muscle spindle using a technique known as serial block-face scanning electron microscopy (SBF-SEM) in which thin slices are repeatedly taken off the face of the block of tissue. A scanning electron micrograph is made of each successive face of the block. This reconstruction was made from 300 serial images, each 70 nanometres apart. Starting at the top left the images progressively include additional features, as follows: the brownish blobs are nuclei in specialised muscle fibres within the spindle; the dark grey lacey things are parts of the contractile structure of the muscle fibres (Z-lines); the purple things are mitochondria in some of the muscle fibres; and the turquoise things are sensory nerve endings.
Serial block-face scanning electron microscopy (SBF-SEM) reconstructed image showing a section of a muscle spindle, courtesy of Dr R W Banks.
Serial block-face scanning electron microscopy (SBF-SEM) reconstructed image showing a section of a muscle spindle, courtesy of Dr R W Banks.
Sensory Endings of Muscle Spindles
These images show virtual reconstructions of the main (“primary”) sensory endings of seven spindles, made using serial sections for light microscopy. Each section was I micrometre thick and they were stained with toluidine blue dye. The colours used in the reconstructions are arbitrary: sensory endings, with characteristic annulo-spiral form, are shown in turquoise; they are supplied by myelinated nerve fibres shown in grey. Annulo-spiral endings are wrapped around specialised muscle fibres, only the nuclei of which are shown (in purple).
This image shows virtual reconstructions of the main (“primary”) sensory endings of seven spindles, made using serial sections for light microscopy, courtesy of Dr R W Banks.
This image shows virtual reconstructions of the main (“primary”) sensory endings of seven spindles, made using serial sections for light microscopy, courtesy of Dr R W Banks.
Bardo II
Ron Brown
"Bardo II" links the Buddhist idea of a transitional state at death leading to rebirth in a different form, with the idea in science that 'nothing is created or destroyed,' merely transformed.
The suggestion of decaying vegetation in the image is linked to regeneration, through the central, red-infused area where form breaks down, but where the red cup in the centre implies blood/fire as signs of life feeding back into the system.
My interest in the Bardo connection was reinforced recently on reading that scientists Peter Noble and Alex Pozhitkov have discovered that some cells remain viable after death for up to 30 days and are able to re-order themselves and transition to serve new functions that are not pre-determined.
Ink and watercolour
Kebnekaise, Ferieklær
Kebnekaise, Ferieklær
Life Structures
Lesley Wood
Inspired by scientific forms the work ‘Life Structures’ is a figurative piece referencing both the golden ratio and a double helix. The mathematical proportion of the golden ratio occurs in nature and has been used by artists for centuries to create balanced and aesthetically pleasing compositions. A double helix describes the physical 3D structure of a DNA molecule, discovered in 1953 it is now arguably the most well-known image associated with biology.
Lesley Wood has stitched a twisting double helix with added colours from the spectrum. The human figure spirals out dramatically from this life forming structure to complete this piece.
Life Structures, Lesley Wood
Life Structures, Lesley Wood
Curved Straight Lines
Harrison Drummond (8 years old)
Harrison carefully measured with a ruler and drew shapes with straight lines in a repeating pattern. He noticed the effect that some of the lines begin to look curved. Using straight lines and a ruler, the artist meticulously measured where the lines spread out from a central square.
He was interested that the result is that the lines appear curved. Photocopies of the image were fitted around the drawing, creating an effect he enjoyed. Harrison’s grandma reflected that there are no truly straight lines anywhere; they are all slightly curved. Harrison believes his construction reflects this idea.
Pen on paper, photocopy
Curved Straight Lines, Harrison Drummond
Curved Straight Lines, Harrison Drummond
Electron micrograph image of the outer (molecular) layer of the cerebellar cortex, courtesy of Dr R W Banks.
Electron microscope image of Paramecium, courtesy of Dr R W Banks.
Electron micrograph image showing internal membranous structures deep within the substance of a skeletal muscle fibre, courtesy of Dr R W Banks.
The outer layer of the cerebellar cortex
An electron micrograph of the outer (molecular) layer of the cerebellar cortex, containing many connexions, or synapses, between nerve cells. The cerebellum is a large part of the brain, and most of its complex functions are automatic. Disease of, or damage to, the cerebellum is often associated with loss of normal motor control. The tissue has been chemically fixed, dehydrated, and embedded in epoxy resin. The section was cut with a glass knife and is about 80 nanometres thick. It was “stained” with lead citrate and uranyl acetate to provide sufficient contrast in the electron microscope.
Find out more
To find out more about research in this field within the Biophysical Sciences Institute visit our website. This exciting area includes statistical approaches to cognition and research which explores the mechanisms behind human echolocation.
Electron micrograph image of the outer (molecular) layer of the cerebellar cortex, courtesy of Dr R W Banks.
Electron micrograph image of the outer (molecular) layer of the cerebellar cortex, courtesy of Dr R W Banks.
Paramecium
The image shows an example of a free-living, single-celled organism, known as Paramecium. A Paramecium lives in fresh water; it moves and feeds using tiny, hair-like projections from the surface of the cell, called cilia (singular – cilium). The image is of a section of about 80 nanometres thickness passing almost parallel to the cell surface, which is sculpted into squarish pockets with a cilium at the centre of each one. Next to the cilium in many of the pockets are symbiotic bacteria that appear as dark, roughly circular structures. Lead citrate and uranyl acetate “stains” were used to provide contrast in the electron microscope.
Find out more
Teams containing microbiologists in the Biophysical Sciences Institute have been leading the global response to the threat of neglected tropical diseases including leishmaniasis and Chagas disease using multidisciplinary approaches. To find out more about our research in this area visit our website.
Electron microscope image of Paramecium, courtesy of Dr R W Banks.
Electron microscope image of Paramecium, courtesy of Dr R W Banks.
Structures Deep Within Skeletal Muscle Fibre
An electron micrograph showing internal membranous structures deep within the substance of a skeletal muscle fibre. At the top are a pair of mitochondria that provide energy for muscle contraction. The elongate structures running from top to bottom of the image are called triads because of their three membranous components. The middle of the triad is the transverse (or T-) tubule, which carries the electrical command to contract deep into the muscle fibre. It is connected to sac-like compartments (the sarcoplasmic reticulum) on either side by the row of dark, peg-like structures. When the electrical signal reaches them, the “pegs” open minute channels releasing calcium ions from the sarcoplasmic reticulum, and the calcium ions instruct the contractile proteins of the muscle fibre to begin to contract.
The tissue has been chemically fixed, dehydrated, and embedded in epoxy resin. The section was cut with a glass knife and is about 80 nanometres thick. It was “stained” with lead citrate and uranyl acetate to provide sufficient contrast in the electron microscope.
Electron micrograph image showing internal membranous structures deep within the substance of a skeletal muscle fibre, courtesy of Dr R W Banks.
Electron micrograph image showing internal membranous structures deep within the substance of a skeletal muscle fibre, courtesy of Dr R W Banks.
Cyanotype Fabric Collage
Frankie Wallace
Images taken from Dr Robert Banks’ micrographs, the artist's grandfather, which he used in his teaching and research at Durham University. Developed as cyanotypes, hand printed onto cotton and hand stitched.
100% cotton
Cyanotype Fabric Collage, Frankie Wallace
Cyanotype Fabric Collage, Frankie Wallace
We are One
Judith Hurst
A direct response to Robert Banks’s image and explanation of paramecium cells.
The work explores three dimensional qualities and interaction of the cells themselves.
Rag paper, ink, watercolour, gold leaf, handmade oak frame
We are One, Judith Hurst
We are One, Judith Hurst
Particulate Tadpoles in a Quantum Pond
Judith Hurst
Tadpoles swim upwards, from a cellular structure, towards open water and a changing environment.
Vellum (calfskin), oil paint, ink, 24ct gold leaf, 18ct gold wire and hallmarked button, handmade oak frame
Particulate Tadpoles in a Quantum Pond, Judith Hurst
Particulate Tadpoles in a Quantum Pond, Judith Hurst
Patterns in a Quantum Pond
Judith Hurst
Movement, life and connections – all influenced by the force of the water, which all the life depends on.
Vellum (calfskin), oil paint, ink, 24ct gold leaf, 18ct gold wire and hallmarked button, handmade oak frame
Patterns in a Quantum Pond, Judith Hurst
Patterns in a Quantum Pond, Judith Hurst
Opus Dunelmensis
Gillian Banks
A quilted wall-hanging made for the artist's husband, Dr Robert Banks, on his 70th birthday. The pattern ‘Gothic Windows’ is 70 patchwork and appliqué squares, giving glimpses of Robert’s life, his scientific works, and interests.
Materials: Recycled clothes and printed cottons
Kebnekaise, Ferieklær
Kebnekaise, Ferieklær
Gastric glands of the lining of the stomach
The large, pale cells secrete hydrochloric acid; the smaller, darker cells secrete mucus. One cell near the centre of the image is dividing, having almost completed anaphase when the two sets of daughter chromosomes move apart. The tissue has been chemically fixed, dehydrated, and embedded in epoxy resin. The section was cut with a glass knife and is 1 micrometre thick. It was stained with toluidine blue for light microscopy.
Microscopy image of the gastric glands of the lining of the stomach, courtesy of Dr R W Banks
Microscopy image of the gastric glands of the lining of the stomach, courtesy of Dr R W Banks
Dance of the Cells, Charlotte Bassadone
Dance of the Cells
Charlotte Bassadone
The Dance of the Cells project is a response to an image of the gastro glands lining the stomach, collected by Dr Robert Banks during his career in comparative neuroscience, and in particular exploring the structures that act at the junction between muscle and nerve cells. The images capture a moment in time, showing the delicate interplay between pale and darker cells, secretion and the process of cell division. By translating these microscopic forms into four watercolour paintings, which themselves are at varied magnifications, Charlotte highlights the hidden elegance within our own bodies and emphasises the cell fragility and intricate layering. These are further enriched by the use of aqueous toluidine dye—echoing techniques used in light microscopy.
Watercolour, oil pastel and aqueous toluidine dye on watercolour paper
Dance of the Cells, Charlotte Bassadone
Dance of the Cells, Charlotte Bassadone
If you would like to get in touch about future events or engaging with our research community you can email us at: bsi.manager@durham.ac.uk or follow us on Instagram: durham_bsi
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