Co-clarified by art and science professors “,”Reflectivity flows“It brings together these different disciplines through recent and historical photographs and a time span video of the glaciers. The exhibition explores the change of glacier, with emphasis on understanding the reflectivity: the capacity of the ice to send the incoming light back to the atmosphere, through an exploration of the artistic dimension of the views and the scientific concept of Albedo (the fraction of the fraction of the fraction of the sunlight. reflex surface). Patricia MauridesCurator and practice professor at the Stony Brook University Department, “see” itself can be an act of imagination and connection.
On display in the Simons Center Gallery At Stony Brook University in New York, the program presents photographs and videos of Maurides and Karina YagerAssociated Professor at the School of Marine and Atmospheric Sciences at Stony Brook University. It also shows a time span video of James Balog and reproductions of historical photographs of the geologist and pilot Robert Shippee and the Lieutenant of the Navy and aerial photographer George Johnson.
The exhibition uses its interdisciplinary perspective to immerse yourself in the phenomenon of the Albedo. With glaciers, ice layers and snow -covered floor that reflects the highest light fraction on Earth, ice aedo is a critical element in the regulation of global climate. Taken individually and as a coherent whole, the works in the program invite viewers to consider perception as a dynamic and interpretive process.
“Reflectivity flows“Detects the connections between ecological transformation and human perception through varied temporalities, landscapes and works of art. Collaboration between its curators forges a crucial connection between art and science, joining experiences lived with scientific observations of the natural world.
In an example, the curators placed a recent photograph with a historical image to invite to the reflection on the pair. “Apu” (2019) by Yager is diagonal through the gallery from an aerial photograph of glaciers in the Vilcanota mountain range, Peru, part of a series of 1931 taken during an expedition of Shippee-Johnson aerial photography. In Yager’s expeditions to Peru, he photographed again the glaciers and aerial file images after the original flight route of the historical expedition.
The title “APU” comes from the Quechua word for “mountainous deity.” Yager’s work reflects his collaboration with indigenous communities in Peru to commit to the spiritual and cultural meaning of glacial landscapes. Upon returning on historical flight routes and photographing the same glaciers, it emphasizes that for many indigenous communities, glaciers are sensitive beings, which causes the glacier to retire is a change of cosmological importance. Instead of replicating separated lenses from scientific documentation, Yager invites viewers to understand “APU” through ways of seeing that they are intimate and based on experienced experiences.
While the art that represents landscapes is not new, like Julie ReissAn art historian who teaches at Columbia University More in sustainability management programHe told Glacierhub: “We can look back in what relationship was being suggested even by those first landscapes. What land was it? Who was the earth? What would have meant that land for people?” Reiss added.
“Apu” spectators not only visually face glacier withdrawal in the Vilcanota mountain range in Peru, more than 80 years later, but also consider how people experience such landscape transformations. The APU are spiritual and protective caregivers of the community, Yager explained, and indigenous communities are “in relations with the APUs”. This perspective changes how glaciers look. It reveals that seeing is not simply empirical, but a practice formed by imagination, connection, experiences and relationships.
Scientific photography documents specific transformations, while “open artistic approaches for open space for research, imagination and incarnate experience,” said Maurides and Yager. This deeper research on how we see that the changing natural landscape runs at all times “Reflectivity flows. ”
Another work that reproduces the relationship between art and science is “alchemy of light”. In this image, Maurides explores the behavior of light using prisms, magnifying and reflective mylar to shape reflectivity in the natural world. Maurides seeks to invite viewers to see differently, based on both the human eye and technology. Maurides’ photographic composition tries to condense the cinematographic flow of these “optical experiments” in a single image. He approaches photography “not as a tool for documentation, but as a vital space for research, experimentation and game.”
Maurides sees photography as a portal: “A space that honors the diversity of human experience, feeds a deeper sense of belonging within the natural world and makes visible what is often invisible, unknown or overlooked.” In “Reflectivity flows“, Visitors are invited to enter this portal and consider how perception shapes their relationship with the world that surrounds them and how photography and art can reveal and transform that relationship.
“Reflectivity flows“It is on display until July 11, 2025 in the Simons Center Gallery At Stony Brook University.
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