Bacteria are not always bad. In fact there are far more bacteria cells than human cells in a healthy human body. But bacterial contamination and a lack of basic hygiene cause illness and death all around the world. The simple act of washing hands with soap is one of the most effective ways to prevent cross-contamination and the spread of bacteria.

The measuring jugs use the product language of the family kitchen and the laboratory to reveal elements of scale, risk, arbitrariness, volumes and numbers that are present in science. ‘You’re one in a million’ is a poster for the home with a million dots, one of which is yellow. It makes super scale tangible in a world where most science is too big or small to see.

Physicists have been developing sophisticated theories around the existence of things that are impossible for us to see, perfecting mathematical models of the ‘beyond-visible’ worlds of the very large and distant (using Einstein’s theory of relativity) and the very small (using quantum mechanics).

Focusing on this realm of the intangible, I wanted to explore how abstract theoretical ideas can be visually represented. I also wanted to play with the notion that today’s cutting-edge theories may one day be seen as quaint and curious museum pieces: theoretical antiques or abstract junk.

Perhaps the objects might be found in someone’s dusty attic or turn up on Antiques Roadshow in the future: “Oh my! Look what they thought in 2008!”

Despite being static, the object holds a narrative of potential consequence, drawn from our knowledge of eggs and Newton’s cradles. Just by simply being observed, the cradle creates excitement through the low-level anxiety produced from the anticipation of the event that the object hints towards.

I have been working the ceramic material in a way that emulates physiological processes, deliberately encouraging ‘faults’, ‘defects’ and ‘blemishes.’ These features add visual and tactual interest to the vessels, and are intended to mirror the interest and individuality added to a person’s appearance by scars, flaws or deformities from medical conditions (their health legacy).

Based on 17th-18th century apothecary jars, the forms have strong historical and medical links, as well as providing the metaphor of vessel as body. The jars become containers for disease, rather than holding the cure. As family heirlooms, the jars can be passed down through generations in the same way as the hereditary medical conditions.

I introduce the class to my magical milk-making machine (based on an in
vitro mammary gland). The children’s responses range from sheer marvel to an unadulterated yuck! After debating the ethics of nanotechnology and genetic engineering I present a slideshow of present and future technologies. They feedback their approval through a traffic-light system of cards – green, yellow and red: For example, Priscilla, the genetically modified pig who wants to be eaten receives a mixed response – with some articulate arguments against the concept.

Nearing the end of our mission, I finally set the challenge: Design the future! The children are uninhibited in their pursuit of creative future designs – passionately conjuring up new visions such as nano-pets and the edible apple phone.

I leave with a sense that creativity and design are safe in the hands of the next generation!