We recently connected with WhiteFeather Hunter and have shared our conversation below.

WhiteFeather, looking forward to hearing all of your stories today. How did you learn to do what you do? Knowing what you know now, what could you have done to speed up your learning process? What skills do you think were most essential? What obstacles stood in the way of learning more?

I come from a craft background, have a masters degree in fine art and entered into biosciences as an artist. My PhD was a research specialization in using bioengineering methods as creative tools. Now I practice “laboratory craft,” which is a technical way of working in a lab to create artworks from biotechnology experiments. Being proficient in both art-making and biotech methods is a somewhat unusual skill set categorized as bio-art, and it isn’t an easy field to enter or maintain a practice in.

One of the biggest challenges for me along the way has been an issue of access: from expensive lab materials, to restricted spaces and institutional permissions. When I traded in my studio apron for a lab coat, I underwent dozens of certification processes and this is repeated every time I start work in a new institution. Since I typically have to conduct my experiments in a biosafety lab, especially when working with human materials such as stem cells, there are numerous regulations to adhere to. Artists have a certain material freedom that scientists don’t necessarily have, and as an artist-researcher, I sit somewhere in between.

I have learned most of my biotech skills by collaborating with numerous scientists around the world, through different artist residency programs, including as part of my masters and doctoral research. The scientists I have worked with have been incredibly generous, curious people, willing to engage with projects that don’t follow the script of scientific experimentation. For example, the work I do is often geared towards cultural critique of technological advance than direct biomedical outputs, though there may be some wider applications. This can be a hard sell for institutional administrators, so the support of the scientists I work with has been critical.

The beauty of blending artistic inquiry with scientific approaches is that it asks questions that might not ordinarily be asked. For example, what are the biopolitics of using stem cells from menstrual fluid? In my work, taboo body materials have become a provocative place for dialogue; these kinds of dialogue need to happen in order to see where research is lacking, and why. My learning process could have been sped up by these taboos not presenting obstacles, but stigmas exist (even in science) and impact many people. So, by doing what I do, I’m pushing to remove some of the roadblocks to make it easier for artists and researchers who follow.

As always, we appreciate you sharing your insights and we’ve got a few more questions for you, but before we get to all of that can you take a minute to introduce yourself and give our readers some of your back background and context?

Practically speaking, most of the work I do involves growing human and animal cells in vitro, building laboratory apparatuses to support their growth, and performing methods of care and control to keep them alive for as long as necessary. I also work in microbiology, or through experiments that involve different species of bacteria.

In bio-art projects, these lab tasks also involve conceptual aspects. For example, I’m not necessarily looking to solve world problems. Instead, I’m often looking to problematize the way biotechnologies are developed, in terms of who is impacted, who benefits, and who or what is overlooked.

One way I present my work is through artistic strategies: video/ performance art (which includes feminist witchcraft), sculptural forms (which include the laboratory apparatuses), large format prints of microscopic imagery, textiles, and art books. These are displayed in public gallery settings. Another way I present my work is through academic publications, where images of the artworks are discussed in the context of some of my conceptual frameworks, such as ethics around the way bodies are treated. And finally, a third way I present my work is through pedagogy, or teaching strategies. I make teaching situations as informal as possible, to engage with people outside of an institutional setting. In this way, I make thinking and doing through biotechnology more accessible.

My current project involves building my own 3D bioprinter, so that I can continue printing my own stem cells into sculptural gel forms.

Are there any books, videos, essays or other resources that have significantly impacted your management and entrepreneurial thinking and philosophy?

The single most impactful resource in my career as a bioartist and biosciences researcher has been a special facility and milieu called SymbioticA, which was housed at The University of Western Australia for close to 25 years. SymbioticA was the first of its kind, a biolab in a university that catered specifically to artistic experimentation with bioscience methods. It was through SymbioticA that I was introduced to and gained access to tissue engineering facilities and materials. My entire career spiralled out from there. It wasn’t just the technical-materials access that they provided, either. They also brought artists together from around the world to form a community of really phenomenal intellectuals and creatives. I think they have probably influenced everyone in the field of bio-art. As pioneers in the field, they have supported and inspired me to instigate new partnerships in universities and other institutions that would have never seen or hosted this kind of work. I know this has been the case for others as well, and now there are recognized bio-art labs scattered across the planet, many of whom I’ve also worked with.

We’d love to hear the story of how you built up your social media audience?

I think one of the most important things I realized about social media is that it isn’t about just building your own profile. My audience growth has been completely organic, mainly through partnering with and promoting others who think and work similarly to me. My work inspires people, especially younger women, but I think the niche creative world I belong to is also what people want to know more about. I don’t work in a vacuum (none of us do), and I think that by lifting other creators up, sharing their content and building a broader picture of how my work fits in the world is key. Others in my social media community are kind enough and smart enough to return the favour. We only benefit by supporting each other. I also like to keep aspects of my content really personal. I’m a genuine person behind the work that I do and bigger ideas I share. This helps people identify with my journey and gives it more meaning.

Contact Info:

• Website: https://www.whitefeatherhunter.ca
• Instagram: @astrodesia
• Facebook: https://www.facebook.com/whitefeatherartist
• Twitter: @whitefeather_h
• Youtube: https://www.youtube.com/@whitefeatherhunter
• Other: https://uwa.academia.edu/WhiteFeatherHunter

Image Credits

Images 1-2: WhiteFeather Hunter, Ars Electronica S+T+ARTS Prize Nomination
Image 3: Tim Deussen for Art Laboratory Berlin
Images 4-5: WhiteFeather Hunter, Museum of Witchcraft and Magic
Image 6: Guy L’Heureux for FOFA Gallery
Image 7: Avner Elkaras for Cultivamos Cultura
Image 8: Tim Deussen for Art Laboratory Berlin