Science is a human activity subject to guesswork, trial and error, subjectivity, failure, luck, and inexplicable bursts of insights just like all creative work.

I am particularly interested in "wunderkammern", collections from the late Renaissance, where natural wonders were displayed alongside works of art and various man-made feats of ingenuity. It was only much later, in the nineteenth century, that we saw the breakup into separate art, natural history, and technology museums. In the earlier collections, we had the wonders of God with the wonders of man. In my work they come together again.

In our days we are living in an era of biotechnology revolution, a revolution that draws on findings and advances in a number of fields from molecular and evolutionary biology, to anthropology, and neuropharmacology. All of these areas of scientific advance have potential political and ethical implications, because they enhance our knowledge of, and hence our ability to manipulate nature and evolution.

Through embryo manipulations, biochemical stainings, embedding techniques, and the use of miniature objects, my work becomes animated, creating another world, a parallel world of fantasy, never intersecting, to the world of everyday reality. There are no miniatures in nature yet. The miniature is a cultural product, the product of an eye performing certain operations, manipulating, and attending in certain ways to, the physical world.