A microscopic landscape features a house as if it were seen from an immense distance. A hand-blown Pyrex™ glass sea rover communicates with a buoy in the waters off Nassau, The Bahamas, mimicking its ocean-based movements in a tank filled with 100 gallons of mineral oil. A short-range centrifuge in MIT’s Man Vehicle Laboratory serves as the subject for an infrared film depicting the thermal signature of a body spinning in motion.
These three artworks currently on view at the MIT List Visual Arts Center were produced as the result of a year long artist’s residency that brought together an eclectic group of MIT scientists, engineers, and graduate students with Bahamian-born, New York-based artist Tavares Strachan.
Strachan has been exploring space and deep-sea training since 2006 as part of a larger multi-phase body of work he calls Orthostatic Tolerance, a medical term that refers to the human body’s ability to adapt to hypotension under gravitational stress.
The List Visual Arts Center’s exhibition, Orthostatic Tolerance: It Might Not Be Such a Bad Idea if I Never Went Home, presents a diverse range of work that negotiates the borders between art, science, and engineering.
These three artworks currently on view at the MIT List Visual Arts Center were produced as the result of a year long artist’s residency that brought together an eclectic group of MIT scientists, engineers, and graduate students with Bahamian-born, New York-based artist Tavares Strachan.
Strachan has been exploring space and deep-sea training since 2006 as part of a larger multi-phase body of work he calls Orthostatic Tolerance, a medical term that refers to the human body’s ability to adapt to hypotension under gravitational stress.
The List Visual Arts Center’s exhibition, Orthostatic Tolerance: It Might Not Be Such a Bad Idea if I Never Went Home, presents a diverse range of work that negotiates the borders between art, science, and engineering.
