Natalie Miebach

Natalie Miebach

By: Athar Mohiuddin

Biographical Data Collected

Nathalie Miebach is a Boston-based sculptor who translates weather data into woven sculpture and musical scores. She holds a Bachelor of Arts in Political Science from Oberlin College, OH, and both a Master of Art Education and Master of Fine Arts from Massachusetts College of Art, MA. She is the recipient of numerous awards and residencies, including a Pollock-Krasner Award, a TED Global Fellowship, the Massachusetts Cultural Council Fellowship, Blanche E. Colman Award, the International Sculpture Outstanding Student Award, a LEF grant, two-year fellowship at the Fine Arts Work Center, a Bemis Center for Contemporary Arts Residency, and the Berwick Research Institute Residency. Her work has been shown in the United States and the United Kingdom, with an upcoming solo show in Berlin, Germany. Her sculptures have been reviewed by many national and international publications, spanning fine arts, design, technology and science audiences, including Art In America, Art News, Sculpture, New York Times, Form, Wired – UK and American Craft Magazine.

Education

2004 – 2006

Massachusetts College of Arts, Boston, MA

Master of Fine Arts, Sculpture

2003 – 2004

Harvard University Extension School, Cambridge, MA

Courses in both astronomy and physics.

1998 – 2002

Massachusetts College of Arts, Boston, MA

Master of Science in Art Education, Certified Visual Arts Teacher, grades 5-12

1991 – 1995

Oberlin College, Oberlin, OH

Bachelor of Arts in Political Science and East Asian Studies

Artist Statement

My work focuses on the intersection of art and science and the visual articulation of scientific observations. Using the methodologies and processes of both disciplines, I translate scientific data related to astronomy, ecology and meteorology woven sculptures. My method of translation is principally that of weaving – in particular basket weaving – as it provides me with a simple yet highly effective grid through which to interpret data in three-dimensional space. By staying true to the numbers, these woven pieces tread an uneasy divide between functioning both as sculptures in space as well as instruments that could be used in the actual environment from which the data originates.

Central to this work is my desire to explore the role visual aesthetics play in the translation and understanding of science information. By utilizing artistic processes and everyday materials, I am questioning and expanding boundaries through which science data has been traditionally visually translated (ex: graphs, diagrams), while at the same time provoking expectations of what kind of visual vocabulary is considered to be in the domain of ‘science’ or ‘art’.

For my most recent project called “Recording and Translating Climate Change”, I gather weather observations from specific ecosystems using very simple data-collecting devices. The numbers are then compared to historical / global meteorological trends, before being translated into sculpture. By examining the complex behavioral interactions of living/non-living systems between weather and an environment, I hope to gain a better understanding of complexity of systems and behaviors that make up weather and climate change. Lately, I have also started to translate the data into musical scores, which are then interpreted through sculptures as well as through collaborations with musicians. My aim is twofold: to convey a nuance or level of emotionality surrounding my research that thus far has been absent from my visual work and to reveal patterns in the data musicians might identify which I have failed to see.

Musical Scores

Recently, I have begun translating weather data collected in cities into musical scores, which are then translated into sculptures as well as being a source for collaboration with musicians. These pieces are not only devices that map meteorological conditions of a specific time and place, but are also functional musical scores to be played by musicians. While musicians have freedom to interpret, they are asked not to change the essential relationship of the notes to ensure that what is still heard is indeed the meteorological relationship of weather data.

External Weather, Internal Storms

33”x40"x60"

Reed, metal, wood, data

2009

The Ghostly Crew of the Andrea Gail

Reed, wood, data

6’x3’x5’, 2011

Hypothetical models of extremes gain freakishness to them when they actually play themselves out in nature. In October 1991, an event meteorologists still refer to as “The Perfect Storm” entered the Gulf of Maine. A low-pressure system hovering over Nova Scotia, an energy system coming from the Great Lakes, and a dying Hurricane near Bermuda called Grace, formed together to create an enormous storm called the “Halloween Storm” that eventually developed into another Hurricane.

This 3D musical score follows the sinking of the fishing vessel called the “Andrea Gail” which sank during the 1991 Halloween Storm, also known as the “Perfect Storm”. The score is divided into three acts (each mast represents one act) and is entirely made up of weather data of that storm. The blue (Hurricane Grace) and natural (Halloween Storm) bands act like time lines on which data of the specific storm systems are translated on.

My Opinion

I like her work because it is very hard to work with straw to create the beautiful sculptures as shes has done. I am also inspired by how she has combined science and art together to create a perfect synergy between the two. Natalie Miebach is not only an artist, but a scientist as well and I feel that she is an inspiration to me because I hope that one day I may be able to do the things that i love without conflict.

TED Blog Comments

Oct 23 2011

Truly astonishing! The sculptures themselves are magnificent and inspirational but to then develop string quartet music from their structure shows innovative genius! This brings a new meaning to the musical concept “Sturm Und Drang”! Bravo!

Bette Boomer

Oct 24 2011

Science interwoven with visual & aural mediums – unbelievable how Ms. Mieback’s creative genius has combined & stretched these disciplines. Thank you for your gift.

Does the artist affect my work in the future?

This was bound to happen with people who share common interests. Her ideas are incredibly brilliant yet so simple. She feels that people need to realize the line that distinguishes art, music and science is imaginary. For my next project I am definitely going to combine science and technology in my pieces.