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Stewart" CONTENT="Catherine Mary Stewart, print making, print makers, Isaac newton, Cambridge University, Canadian art exhibition, galleries, canadian woman artist, art collectors, studio, lithograph, etching, drawings,metaphysical art, visual art, mixed media, Vancouver, Isaac Newton, Cambridge University exhibition, spiritual realm. Canadian culture <META HTTP-EQUIV="> <TITLE>Catherine M. Stewart</TITLE> </HEAD> <BODY TEXT="#000000" BGCOLOR="#A4A4A4" LINK="#806517" VLINK="#806517" ALINK="#806517"> &nbsp; <CENTER><TABLE WIDTH="90%" HEIGHT="100%" > <TR> <TD VALIGN=TOP WIDTH="20%"> <H4> </H4> <TABLE WIDTH="100%" > <TR> <TD VALIGN=TOP> <CENTER><FONT FACE="Arial,Helvetica"><A HREF="http://members.shaw.ca/stewartcm/"></A></FONT>&nbsp;</CENTER> <H4> <FONT FACE="Arial,Helvetica"><A HREF="http://members.shaw.ca/stewartcm/">HOME</A></FONT></H4> <H4> <BR> <FONT FACE="Arial,Helvetica"><A HREF="http://members.shaw.ca/stewartcm/Portfolio.html">PORTFOLIO</A></FONT></H4> <H4> <BR> <FONT FACE="Arial,Helvetica"><A HREF="http://members.shaw.ca/stewartcm/Reviews.html">REVIEWS</A></FONT></H4> <H4> <BR> <FONT FACE="Arial,Helvetica"><A HREF="http://members.shaw.ca/stewartcm/Galleries.html">NEWS</A></FONT></H4> <H4> <BR> <FONT FACE="Arial,Helvetica"><A HREF="http://members.shaw.ca/stewartcm/Exhibitions.html">EXHIBITIONS</A>&nbsp;</FONT></H4> <H4> <BR> <FONT FACE="Arial,Helvetica"><A HREF="http://members.shaw.ca/stewartcm/Biography.html">BIOGRAPHY</A></FONT></H4> <H4> <BR> <FONT FACE="Arial,Helvetica"><U><A HREF="mailto:stewartcm@shaw.ca">CONTACT</A></U>&nbsp;</FONT></H4> </TD> </TR> </TABLE> &nbsp;</TD> <TD VALIGN=TOP> <center><font FACE="Century Gothic"><FONT COLOR="#0B0B61"><font SIZE=+3>CATHERINE M. STEWART ~ REVIEWS</font></font></font></center> <CENTER>&nbsp;<IMG SRC="STEWART_Newton.jpg" HSPACE=10 VSPACE=8 BORDER=1 HEIGHT=333 WIDTH=550></CENTER> <FONT FACE="Arial,Helvetica"> <CENTER>&nbsp;<B><FONT SIZE=-1>Catherine Stewart in front of the Isaac Newton Institute, University of Cambridge</FONT></B></CENTER> <BR> <UL> <H4> <BR> <B>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <A HREF="#elements">Elements of Grace and Copernican Notes</A>: by Julia Hawkins</B></H4> <H4> <B>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <A HREF="#elements2">Catherine M. Stewart Exhibits in Cambridge</A>: by Gillian Armitage&nbsp;</B>&nbsp;</H4> &nbsp; <B>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <A HREF="#elements3">Science as Muse: Interpreting the Natural World</A>: by Ruth Beer&nbsp;</B>&nbsp;</H4> </UL></FONT> &nbsp; <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH="100%" > <TR> <TD ALIGN=LEFT VALIGN=TOP> <CENTER>&nbsp;</CENTER> <CENTER>&nbsp;</CENTER> <CENTER>&nbsp;</CENTER> <CENTER>&nbsp;</CENTER> <CENTER>&nbsp;</CENTER> <CENTER>&nbsp;</CENTER> <CENTER>&nbsp;</CENTER> <CENTER>&nbsp;</CENTER> <CENTER>&nbsp;</CENTER> <CENTER><A NAME="elements"></A><B><FONT FACE="Verdana,Arial,Helvetica"><FONT COLOR="#5B1E00"><FONT SIZE=+1>Elements of Grace and Copernican Notes</FONT></FONT></FONT></B></CENTER> <CENTER><B><FONT FACE="Verdana,Arial,Helvetica"><FONT COLOR="#5B1E00">reviewed by Julia Hawkins</FONT></FONT></B></CENTER> <CENTER><B><FONT FACE="Verdana,Arial,Helvetica"><FONT COLOR="#5B1E00"><I>Plus Online Magazine</I>, published by the Millennium Mathematics Project, Cambridge, U.K.&nbsp;</FONT></FONT></B></CENTER> <CENTER> <H4> <B><FONT FACE="Verdana,Arial,Helvetica"><FONT COLOR="#000066"><FONT SIZE=+1><A HREF="http://plus.maths.org/issue21/reviews/exhibition1/index.html">Read the review on the <I>Plus</I> Website</A></FONT></FONT></FONT></B></H4></CENTER> </TD> <TD ALIGN=RIGHT VALIGN=TOP></TD> </TR> </TABLE> <!-- END OF FILE: include/common/title_author.html --><!-- END OF FILE: include/common/main_header.html --><!-- END OF FILE: include/reviews_header.html --><A NAME="exhibition1"></A> <CENTER><B><I><FONT FACE="Arial,Helvetica"><FONT SIZE=+1>An exhibition of work by Canadian artist Catherine M. Stewart</FONT></FONT></I></B></CENTER> <CENTER><B><I><FONT FACE="Arial,Helvetica"><FONT SIZE=+1>5 September - 31 October 2002</FONT></FONT></I></B></CENTER> <P><FONT FACE="Arial,Helvetica"><FONT SIZE=+1>The <A HREF="http://www.newton.cam.ac.uk">Isaac Newton Institute for Mathematical Sciences</A> is currently showing a small exhibition of two suites of photo-etchings with mathematical components by the Canadian artist Catherine M Stewart, who studied both maths and physics in the course of her undergraduate degree at the University of Toronto.<B> <I>Elements of Grace</I></B> is a collection of 12 photo-etchings which combine diagrams from Newton's <B><I>Principia Mathematica</I></B> (1729) with photodetails of the human body. <B><I>Copernican Notes</I> </B>is a suite of multiple plate etchings in which text and diagrams from Copernicus' <B><I>On the Revolutions of Heavenly Spheres</I></B> (1543) are overlaid upon photographic images of moving figures.</FONT>&nbsp; <P><FONT SIZE=+1>Neither of these suites of works directly teaches us more about mathematics, nor do they try to do so - Stewart isn't attempting to do as Escher did and illustrate actual mathematical concepts - drawing a multi-dimensional world for example. Rather they follow the lead of many contemporary artists and writers in drawing parallels between mathematics or science and aspects of human experience, pointing out different ways of "reading" the mathematics involved, or loosely reinterpreting a mathematical idea as a cultural reference point. It's been a popular pursuit over the past decade or so - take Antony Gormley's <B><I>Quantum Cloud</I> </B>sculpture on the banks of the Thames, made up of thousands of small shifting pieces of metal, grown outwards like fractals, which resolve, sometimes, to let you see a human figure within the mass; or Tom Stoppard's brilliant 1993 <B><I>Arcadia</I> </B>(which does, in fact, explain quite a lot about mathematical concepts, and is one of the few plays in English to have a character stating Fermat's last theorem in full on stage). While Stewart may not be quite in Gormley's league in terms of either fame or the size of her works, this exhibition is both a fascinating and very visually appealing exploration of fragments of the dialogue between science and the arts.&nbsp;</FONT>&nbsp; <P><FONT SIZE=+1>The works within the <B><I>Elements of Grace</I></B> suite juxtapose black and white photographs of particular areas of the human body - an ear, a foot, an eye, hands - with etchings reproducing the engraved diagrams from the first English translation of Newton's <I>Principia Mathematica</I>, published in 1729. Catherine Stewart writes in her statement accompanying the exhibition that&nbsp;</FONT>&nbsp; <BLOCKQUOTE><FONT SIZE=+1><I>I have always marvelled at the inherent beauty of mathematics... although the two types of images were so different in subject matter and graphic character, when brought together they seemed to relate to each other on another, more symbolic level. The eternal (Platonic) forms of the human body can be seen to be visually linked to the eternal forces of nature. A dialectic of sorts occurs with each combination.</I>&nbsp;</FONT></BLOCKQUOTE> <FONT SIZE=+1>The spare, skeletal lines of the etched diagrams contrast with the shadowed flesh depicted in the photos, although the image as an entirety is bound together by the monochrome palette, and of course the physical juxtaposition. Some work better than others. <B><I>"Point of contact"</I> </B>- the titles are all phrases drawn from the text in the <B><I>Principia</I></B> associated with each particular diagram - shows an eye: mathematical contact reinterpreted as human contact, eye contact, between the subject of the photo or even the picture itself and the viewer; an allusion also to the lines of focus that the human eye employs to allow us mechanically to see, with those diagrams of lines emanating from a side-on staring eye that we all drew laboriously, with the aid of rulers, in our school biology lessons.</FONT>&nbsp; <P><B><FONT SIZE=+1><I>"Of the circular motion of fluids"</I> </FONT></B><FONT SIZE=+1>shows a human ear, the curled whorls of the outer ear structure mirroring the curves within the diagram, and the mathematical concept illustrated reminding the viewer of the physical motion of the fluid within the inner ear, the organ of balance (like the balance between photo and diagram, the circular motion of references and cross-comparison between the two images, the circular relationship of mathematics and physical reality....). These etchings work particularly well in illustrating a real relationship between a mathematical abstraction and the workings of the human body, while others are less closely allusive, less layered - an apparently superficial similarity between a curve and a mouth, for example: the Platonic mathematical form echoed with human imperfection.&nbsp;</FONT>&nbsp; <P><!-- FILE: include/leftfig.html --><FONT SIZE=+1>The plate etchings within <B><I>Copernican Notes</I> </B>copy facsimile pages from the manuscript of <B><I>De Revolutionibus Caelestibus</I></B> (On the Revolutions of the Heavenly Spheres) by Nicholaus Copernicus, and superimpose them on blurred, shadowy photos of human bodies in motion, then in addition superimposing on both etched circles and orbits. These works are not only very appealing, with their palette of ochre, terracotta, sepia, cream, and the interweaving lines of manuscript and circles, but also immediately very conceptually successful, no doubt partly because humanity has always wilfully persisted in seeing close parallels between the movements of the planets and our own actions and impetus, from medieval astrology to the horoscope columns in today's tabloids.&nbsp;</FONT>&nbsp; <P><FONT SIZE=+1>Stewart herself refers not to this but to the History of Science mantra of the paradigm shift, writing in her notes on this suite of etchings that&nbsp;</FONT>&nbsp; <BLOCKQUOTE><I><FONT SIZE=+1>The transition from childhood to adulthood can be likened to a Copernican paradigm shift. During this phase of intellectual development, a child's view of reality changes from one centred on self, family and immediate surroundings to one which encompasses much, much more. Furthermore, as an adolescent's view of the universe expands, an awareness of his or her place in it changes as well. This gradual change in perspective can be seen to parallel the shift in Western consciousness that occurred when Copernicus established that the sun, not the earth, was the centre of planetary motion.</FONT></I></BLOCKQUOTE> <P><FONT SIZE=+1>This reading of the images makes even more sense when one learns that the female figure in most of the etchings is Stewart's adolescent daughter. The images work well as illustrations of the tension between the egotistical and the universal, between our own small ideal microverses and the broader social and scientific contexts which we inhabit. My particular favourite is <I>"Investigating the Motions of Venus"</I>, where the shadowy female figure beneath the etched orbit and Copernicus' text becomes a visual symbol of the confusions, repetitions and certainties of love as well as the cosmos, and where the title becomes an inextricably important part of the work as a whole, adding new possibilities of fresh and different readings to the viewer, appropriately enough since the etchings deliberately take the format of an open book.&nbsp;</FONT>&nbsp; <P><FONT SIZE=+1>It is, perhaps, the literary-ness of several of these images, the references to books and texts, that especially endears them to me; the exhibition notes themselves reveal the importance of the form of the book to the artist:&nbsp;</FONT>&nbsp; <BLOCKQUOTE><I><FONT SIZE=+1>When I opened a facsimile of the manuscript... I was immediately attracted to the penned Latin script, the hand drawn diagrams and the tables of celestial observations.... My urge was to bring these ancient and exquisitely detailed pages to life in a new and different context...&nbsp;</FONT></I>&nbsp; <P><FONT SIZE=+1><I>The dual format of these prints is that of an open book. To further this association, I used the technique of chine-coll&eacute; whereby a second type of paper was introduced in the printing process. I selected a more delicate and warmly toned paper to replicate the texture and feel of the paper that might have been used on the original manuscript.</I>&nbsp;</FONT></BLOCKQUOTE> <FONT SIZE=+1>"Reading" these works then throws up a palimpsest of memories of other texts, other books, discoursing on the interaction between the planets and man. For me, looking at <B><I>"Investigating the Motion of Venus"</I></B> prompts a ghostly echo of Chaucer's Troilus (appropriate again as Chaucer was a keen amateur scientist, writing a very readable <B><I>Treatise on the Astrolabe</I></B> for his ten year old son Lewis, who would I think in another age have been an avid reader of NRICH and <B><I>Plus</I></B> - "Lyte Lowys my sone", wrote Chaucer fondly, "I apercyve wel by certeyne evydences thyn abilite to lerne sciences touching nombres and proporciouns..."), created only a century and a half before Copernicus wrote his manuscript, sitting disillusioned in heaven watching "the erratik sterres" and denouncing their control over human loves and lusts.&nbsp;</FONT>&nbsp; <P><FONT SIZE=+1>Interest in the prints has been expressed by other galleries in Edinburgh and Glasgow, so with luck there will be a chance for <B><I>Plus</I></B> readers to see some of these works in other locations; Catherine Stewart is also planning a website. Meanwhile, for anyone interested in the continual dialogue - frequently illuminating, sometimes a little confused on both sides, always fascinating - between science and the arts, these beautiful prints are well worth viewing, and add another small, clear voice to the cacophony.&nbsp;</FONT>&nbsp; <hr> <P><FONT SIZE=+1>The reviewer, Julia Hawkins, is Deputy Director of the Millennium Mathematics Project.&nbsp;</FONT></FONT>&nbsp; <br> </BLOCKQUOTE> <hr> <br> <br> <br> <CENTER><A NAME="elements2"></A><B><FONT FACE="Verdana,Arial,Helvetica"><FONT COLOR="#5B1E00"><FONT SIZE=+1>Elements of Grace and Copernican Notes</FONT></FONT></FONT></B></CENTER> <CENTER><B><FONT FACE="Verdana,Arial,Helvetica"><FONT COLOR="#5B1E00">reviewed by Gillian Armitage</FONT></FONT></B></CENTER> <CENTER><B><FONT FACE="Verdana,Arial,Helvetica"><FONT COLOR="#5B1E00">Published in <i>CHOP</i>, Vol.15, No.4 - Nov.2002. &nbsp;</FONT></FONT></B></CENTER> <br> <font SIZE=+1><FONT FACE="Arial,Helvetica">For two months this fall, the Isaac Newton Institute for Mathematical Sciences in Cambridge, England, hosted an exhibition of prints by Malaspina printmaker, Catherine Stewart.&nbsp; Founded in 1992, the Newton Institute attracts leading scientists from around the world to participate in mathematical research programs. This somewhat unusual venue underscores a basic tenet of this exhibit, that of ‘connections’.&nbsp; Stewart holds an undergraduate degree in physics and mathematics and a masters in fine art.&nbsp; This exhibit of two suites of photo etchings unites both disciplines.</font><font SIZE=+1></font> <p><FONT FACE="Arial,Helvetica"><font SIZE=+1>Elements of Grace, which was exhibited in the Malaspina Gallery, March 27 - April 21, 2001, juxtaposes exquisitely elegant diagrams from Isaac Newton’s Principia Mathematica (1729) with photo details of Stewart’s teenaged daughter (ears, eyes, hands, nose, etc.)&nbsp;&nbsp; Each combination is carefully chosen to connect on conceptual, symbolic and visual levels. “The eternal (Platonic) forms of the human body can be seen to be visually linked to the eternal forces of nature.&nbsp; A dialectic of sorts occurs with each combination”. C. M. Stewart.</font><font SIZE=+1></font> <p><font SIZE=+1>In the Copernican Notes suite, pages from the manuscript “Opus Revolutionibus Caelestibus“(1543) by Nicholaus Copernicus are combined with blurred, shadowy images of Stewart’s daughter moving, sometimes violently, other times barely perceptibly. This second suite is more complex than the first both in its presentation and execution.&nbsp; Each print comprises five or six plates.&nbsp; Pages of the handwritten Latin text with diagrams, and large, simply etched arcs overlay the photographic images.&nbsp;&nbsp; The prints are presented to us like an open book.&nbsp; The size of the plates and the use of delicate, chine colle papers of the palest ecru replicate the original manuscript.</font><font SIZE=+1></font> <p><font SIZE=+1>Julia Hawkins makes the following observation in her review for ‘+ plus’, a University of Cambridge publication.&nbsp; “These works are not only very appealing, with their palette of ochre, terracotta, sepia, cream, and the interweaving lines of manuscript and circles, but also immediately very conceptually successful, no doubt partly because humanity has always willfully persisted in seeing close parallels between the movements of the planets and our own actions and impetus, from medieval astrology to the horoscope columns in today’s tabloids.”</font><font SIZE=+1></font> <p><font SIZE=+1>There is something inherently wonderful and timeless about images pulled from the intaglio surface of an etching plate.&nbsp; No other medium can produce such rich, velvety blacks and deep authoritative lines and also the finest and most delicate of scratch marks.&nbsp; It is the perfect vehicle for this body of work replicating all the nuances of line of those ancient manuscripts.&nbsp; And it adds a lush, sensual quality to the photographs, reminiscent of portraits from an earlier time.&nbsp; The work of the 19th century photographer, Julia M. Cameron comes to mind, whose notoriously long exposure times, minutes rather than seconds, captured some sign of movement, intentionally or not.</font><font SIZE=+1></font> <p><font SIZE=+1>At the opening reception, Sir John Kingman, Director of the Institute, officially opened the exhibition and introduced Catherine Stewart to the assembly.&nbsp; After the formalities, wine glasses in hand, the crowd which was made up mostly of visiting scientists and Institute staff dispersed to view the work. It was interesting to see and listen to their reactions.&nbsp; All displayed a pervasive curiosity at the sight of elements from their world employed in a very different context.&nbsp; Viewing the work gave them an opportunity to consider the role of mathematics outside the scientific boundaries.&nbsp; Furthermore, it allowed them to contemplate their own relationship, as mathematicians at the beginning of the 21st century, to these seminal works in the history of science.</font><font SIZE=+1></font> <p><font SIZE=+1>The ‘connections’ associated with this exhibition are numerous.&nbsp; There are the obvious links to Isaac Newton and between past and present.&nbsp; There are the conceptual connections between the growing awareness of a young girl of herself and the world around her and the scientific awaking generated by the work of Copernicus and Newton in furthering humankind’s understanding of the universe.&nbsp; As well, whenever an artist chooses to exhibit in a place outside the artistic milieu there is a reaching out to another constituent of the community at large.&nbsp; And there are, in this location, the visual links between the artwork and the daily outpouring, scribbling and notations on the many chalkboards that are installed throughout the Newton Institute (including the ‘lift’ and the ‘loo’), forever at the ready for inspiration and discussion to take place.</font><font SIZE=+1></font> <p><font SIZE=+1>Finally, in the words of Catherine Stewart spoken at the opening reception,&nbsp; “The practices of science and art have much in common.&nbsp; Both are driven by a creative impulse.&nbsp; Both involve synthesis (gathering in new information and building on past experience).&nbsp; Both can be seen as attempts to interpret our surroundings and to expand our collective understanding of reality.”</font><font SIZE=+1></font> <p><hr> <P><FONT SIZE=+1><FONT FACE="Arial,Helvetica">The reviewer, Gillian Armitage, is a Canadian West Coast artist and long-time member of the Malaspina Printmakers Society.&nbsp;</FONT></FONT></font>&nbsp; <CENTER>&nbsp;</CENTER> <hr> <br> <br> <CENTER><A NAME="elements3"></A><B><FONT FACE="Verdana,Arial,Helvetica"><FONT COLOR="#5B1E00"><FONT SIZE=+1>Science as Muse</FONT></FONT></FONT></FONT></B></CENTER> <CENTER><B><FONT FACE="Verdana,Arial,Helvetica"><FONT COLOR="#5B1E00"> by Ruth Beer</FONT></FONT></B></CENTER> <CENTER><B><FONT FACE="Verdana,Arial,Helvetica"><FONT COLOR="#5B1E00">Exerpt from a review of the exhibition <i>The Animal That Therefore I Am</i><br>at Malaspina Printmakers Gallery <br>Published in CHOP, vol. 33, issue 1, spring 2008 </FONT></FONT></B></CENTER> <P><FONT SIZE=+1><FONT FACE="Arial,Helvetica"<br><br> Stewart’s exquisitely produced artworks are diptychs juxtaposing the human figure or parts of human anatomy with images of zoological specimens. These evocative black and white photo etchings on warmly toned translucent paper explore a sensitive and surprising alchemy by bringing together scientific, expressive, and aesthetic signs and symbols that underscore and celebrate the curious correspondences of human and other animal forms. Her carefully selected images are meant to heighten awareness of our shared traits and heritage. Her combinations side-step predictability and destabilize our understanding. <br><br> Her intention is not to limit the reading of the work but to open possibilities for interpretation by the viewer. Her pairings highlight the beauty that underscores the sublime intricacy of mechanical design of human and animal bodies and the way they operate. For example, in Northern Flicker and Shoulder X-ray, she joins together the image of the skeletal human ribcage and shoulder with a companion image of a bird with its wing spread wide. This juxtaposition relates the movement of the wing to the mechanics of human appendages and, by extension, to our shared capacity for free movement. In Wedding Couple and Golden Pheasants, the pairing of an archival photographic negative of a wedding photograph with one depicting a male and a female bird specimen lying side be side reminds us that mating, the main mechanism of evolution, is necessary for the propagation of all species. Wood Thrush and Chest X-ray presents a poignant image of a bird in a cardboard box raising associations with a humble bed or coffin and, paired with the medical x-ray, brings to mind our mutual susceptibilities. In Snowshoe Hare Maxilla and Child Laughing, analysis of the strictly composed image of a detailed specimen showing the jaw and teeth of the hare are counterposed with the image of a child’s joyous smile exposing her teeth in unselfconscious abandon. Stewart’s coupled images proposing visual, anatomical or other co-relations complement each other. Her elegantly simple compositions, engaging iconography and refined technique are seamlessly integrated to encourage discourse about representation and the construction of knowledge. <br><br> Scientific research methods and museumology also play key roles in the development of her concepts and are germane to the meaning of the work. When visiting the Spencer Entomological Museum and the Cowan Vertebrate Museum at the University of British Columbia, Stewart became intrigued by the contents of storage drawers full of carefully arranged specimens and the highly rigorous nature of zoological curatorial practice. She photographically documented specimens from these collections including identification labels that reference naturalists’ organizational systems and represent the plethora of precise information contained in these collections. <br><br> From seemingly antiquated handwritten tags and family photographs, to digital X-rays and appropriations from the internet, Stewart built up a diverse archive of information which she has freely adapted for use in her representations of the human or animal body. By drawing from the particular, she makes visual statements that are universal in character – this northern flicker stands in for all northern flickers, this wedding couple for all wedding couples, etc. She is not interested in a strict documentary approach but rather in representing her subject by expressive means through digitally manipulating photographs or layering transparencies to create hybrid forms to correspond with a partner image. Extrapolation from the specific to the generic is further enhanced by the conversion of her original colour photographs to black and white photo-etchings. They are no longer exact recordings but, rather, representations of an idea. <br><br> Every aspect of this work is carefully considered and, like a haiku poem, nothing is extraneous - every detail contributes to an effortless appreciation of the work and a complex reading found in the layered sophistication of the meticulously produced and synthesized conceptual foundation of this impressive body of work. These works that address ways of knowing through detailed examination, observation, and the imaginative manipulation of recorded data, underscore questions about how we understand human and animal commonalities and differences. Stewart provides us with new provocative and imaginative ways to consider that relationship. <br><br> <p><hr> <br> The reviewer, Ruth Beer, is a Vancouver- based artist and writer. She has exhibited sculpture, photography and video in national and international exhibitions. Her collaborative writing projects have been published in numerous journals. She is the recipient of several Canada Council Visual Art Grants and public art commissions. She is an Associate Professor and former Head of Visual Art at Emily Carr Institute of Art and Design. She is on the Board of Directors of Presentation House Gallery and for the past six years served as an artist representative on City of Vancouver Public Art Committee. <br></font></font></p> <p><hr> <CENTER> <H4> &nbsp;<A HREF="http://members.shaw.ca/stewartcm/Reviews.html"><FONT FACE="Arial,Helvetica">Top of Page</font></A></H4></CENTER> <CENTER>&nbsp;</CENTER> <CENTER><FONT SIZE=-1><FONT FACE="Times New Roman,Times">Web design by</FONT> <FONT FACE="Times New Roman,Times"><A HREF="mailto:greggsimpson@shaw.ca">Artcom</A></FONT></FONT>&nbsp;</CENTER> <CENTER>&nbsp;</CENTER> </TD> </TR> </TABLE></CENTER> </BODY> </HTML>