My artistic themes reflect on the limits of life and death in the context of molecular genetics. The installation, Tremor, was produced in April 2007 using video microscopy in the context of developmental biology and zebrafish genomics. Extreme close up evaluations of mutant zebrafish embryos were used capture the essence of the life force as movement, but also show, paradoxically, that making and unmaking the gene requires a pathological trespass into the mystery it seeks to reveal. In microscopic studies of embryonic growth, visual distortions, physical vibrations, shadows, reflections, scratches, and microbial parasites randomly appear. Awkward co-ordination of eye and hand movements, control of the image and the limitations of a fixed viewpoint were used to engage the viewer in a visceral and psychological reading of a mediated life form. I showed how physical contact and looking create tremors and palpitations that are tactile, reactive and deadly because the embryonic organism is sensitve and frequently dies.
Zebrafish belong to a group of model organisms deliberately bred to study vertebrate development. They are used to search for mutations randomly using classical forward genetics, and then selectively bred. Historically, shared characteristics suggested linear chains with humans as the dominant species, but as the all life is revealed in greater genetic complexity, it sheds new light on human evolution and our interconnection to other species becomes more pervasively subtle. Humans share ancestors with fish but the transgenic application of our molecular self to other species now renders evolutionary comparisons redundant.