published in Brick literary journal (Winter 2016 issue)
In 2014 I completed an internship at the Bodyworlds plastinarium in Guben, Germany, where I was responsible for anatomical positioning of vasculature,muscles and nerves on freshly plastinated specimens of human heads. I was given the (deceased human and freshly plastinated) specimen and a stack of medical text books and asked to ensure that that former looked like the latter, that is, the ‘real life’ specimen echoed the anatomical knowledge already collected and recorded in the text books. I spent hours researching the placement of everything, crosschecking in dissection books, text books etc. and during this time found duplications, contradictions, things missing, and other errors I naively assumed would never appear in science texts, and towards the end, I realized I was chasing something to some degree unreachable: “Scientifically correct” would only be another interpretation of the word “correct”. What I had originally looked forward to as an opportunity to experience medical empiricism at its finest was in fact as elaborate a myth as art can be.
About the drawings: on their own each system alerts the viewer to the simple organic and beautiful growing structures contained within each and every one of us. And when all the systems are put together, the result is chaos. A (during a lifetime) relatively perfectly functioning organic chaos.