Sci-Art: How did it all start?

It was Terry Trickett’s close working relationship with the Wellcome Trust that led directly to the invention of Sci-Art and to his on-going participation in science/art initiatives. The story is best told by an impartial observer, Verity Slater, who, when she was a member of the Wellcome Trust’s Sci-Art team, wrote a paper on the ‘factors that influence the development of a funding scheme’. She states:

“In the original formation of the science and art idea, three main factors are apparent. In 1995, the Wellcome Centre for Medical Science opened an exhibition space within its newly designed 210 building on Euston Road, London. The activities of the exhibitions department, under the direction of Ken Arnold, fell under the remit of the Medicine, Society and History (MSH) division of the Wellcome Trust. MHS explores the historical and cultural contexts of medicine and health. One of its main aims was to encourage public engagement with science. Any new initiatives promoted through the department would encompass this aim. The first exhibition to be held was entitled “Look Hear”. Designed by Trickett Associates, the exhibition juxtaposed medical objects and examples of research with contemporary art works and cultural artefacts, to explore the concept of “seeing the way in which we hear”. Significantly, the exhibition succeeded in attracting a scientific, artistic and a general audience. This idea of referencing the two disciplines in the same exhibition to investigate their relationship, whilst drawing on a diverse audience, was critical; it was an important factor in encouraging the Wellcome Trust to engage further in the field of science/art activity.

The architects of the 210 Building (and designers of the “Look Hear” exhibition), Trickett Associates, were involved in the science and art project from the beginning. Terry Trickett remembers a conversation between Dr Laurence Smaje, Director of the MSH division, and himself in which the possibility of some form of arts and science project was discussed.

Soon after, an informal gathering of individuals known to Terry Trickett, Ken Arnold and Laurence Smaje were brought together to brainstorm possible ways forward. This group, which included Charles Landry, consisted of scientists, artists, curators and academics. The majority of these individuals later formed the selection committee for the Sci-Art scheme.

As a result of this dialogue, Trickett was commissioned to conduct a research project to explore science and art activity that already existed and to identify individuals and organisations with a potential interest in becoming involved. After further consultation with the advisory group, Trickett compiled a document outlining the framework for a science and art project to be submitted to the Board of Governors for approval. Even though the idea was not clearly defined at the outset, it was underpinned by “a belief that something interesting might emerge from enabling collaborative work between artists and scientists” and it succeeded in gaining the backing of the board.

Further research took place to gauge interest in both fields and to identify potential participants. Danielle Olsen, employed by Terry Trickett to conduct some research, commented on the difficulty of describing an idea that was as yet undefined. From a funding perspective at least, there was no precedent. This difficulty was overcome once a Call for Ideas had been written, by Terry Trickett and Charles Landry, for distribution to the Wellcome Trust’s mailing list, scientific and academic institutions and other appropriate bodies.

By the closing date in February 1997, 225 applications had been submitted, from a total of approximately 1000 artists and scientists. The amount of applications received far exceeded initial expectations and the scope of art forms and scientific subject matter covered was broad, a number of submissions being described as evading succinct identification!”

The above description reveals that, from its inception, the Sci-Art initiative was successful.

It demonstrated that, because available funding sources at the time tended to operate within the discipline of science or art (and very rarely in both), the initial sponsorship obtained from the Wellcome Trust was both unusual and significant. After a second year of sponsorship and at the request of the Wellcome Trust, Terry Trickett and Charles Landry formed the Sciart Consortium (Calouste Gulbenkian Foundation, The British Council, The Scottish Arts Council, The Arts Council of England, The Wellcome Trust and NESTA). For three years the Consortium ran the initiative and, thereafter, for a further five years, the Wellcome Trust re-assumed sole responsibility for Sci-Art. The last competition was held in 2006.

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