https://linktr.ee/ArtinScienceMA

Art in Science MA, 2 Duckinfield Street, Liverpool (2026)

21/09/2026

🌿 Mindful Garden: Fading Plants & Forgotten Words 🌿

This summer, one of our PhD researchers, Mindful Garden 🌿, has been working with children aged 6–15 at World Museum , Ness Botanic Gardens and Eureka! Science + Discovery as part of her doctoral research tackling plant blindness through art-science public engagement. Across a range of creative workshops, participants explored medicinal plants, herbarium-making and forgotten nature words from The Lost Words by Robert Macfarlane and Jackie Morris 🌿📖.

The works produced in these workshops is being disseminated through a series of upcoming exhibitions. Add them to your diaries!

✨ Exhibition Dates ✨

📍 World Museum, Liverpool — The Bug House
3–18 October 2026

📍 Eureka! Science + Discovery, Wirral — MakeCreate
21–27 November 2026

📍 Ness Botanic Gardens, Cheshire
February 2027 — dates TBC

21/09/2026

Congratulations to our class of 2026 on completing their MA in Art in Science. Check out their final Major Projects at www.liverpooldegreeshow.co.uk/programmes/ma-art-in-science/ Link in bio.

Featuring:
- ‘The Skeleton in the Closet: A continued investigation of an anatomical teaching skeleton in the School of Art and Creative Industries’ by
- ‘Repatriating Dignity to the Unknown: Creating recognition for unidentified missing deceased persons through art and exhibition’ by
- ‘Collage for Change: AI is generating environmental problems’ by
- ‘Creation Through Destruction: Supernovae - Seeds of Light’ by
- ‘Wombstories: Visualising lived experiences of the womb through art-science practice’ by
- ‘Look But Don’t Touch: Reimagining endangered plant preservation through artistic hybrid archives’ by .madi

14/09/2026

Congratulations to our class of 2026 on completing their MA in Art in Science. Check out their final Major Projects at www.liverpooldegreeshow.co.uk/programmes/ma-art-in-science/ Link in bio.

‘The Skeleton in the Closet’ by Heather Grant has been a one-year practice-led investigation of an authentic human anatomical teaching skeleton (ATS) within the School of Art & Creative Industries at Liverpool John Moores University.

Undertaking an interdisciplinary approach; expertise and guidance from experts in forensic anthropology, collaboration with the Fab Lab, archival research and collection of oral histories, this case study explored the ethical considerations of continued use of ATS’s, including concerns surrounding consent, storage, use, digitization and care.

A drawing research method has provoked critical thinking and reflection about the use of ATS. Addressing and reassessing what might be considered appropriate ‘use’, where consent is not present, focusing more upon the process than the result; and boundaries surrounding the study of fake plastic bones, 3D printed material, and authentic human remains.

The research has been collated and presented to senior management to request the donation of the ATS from the School of Art & Creative Industries to a facility in the Forensic Anthropology Department for continued stewardship.

14/09/2026

Congratulations to our class of 2026 on completing their MA in Art in Science. Check out their final Major Projects at www.liverpooldegreeshow.co.uk/programmes/ma-art-in-science/ Link in bio.

Working with astrophysicists at LJMU’s Astrophysics Research Institute (ARI), ‘Creation through Destruction (2026) is the culmination of a year-long research project by Orla Fox on the representation of astrophysics phenomena, particularly supernova – a phenomenon that occurs in the final stages of a star’s life. As the star’s mass exceeds its energy output, it collapses in on itself resulting in a cataclysmic explosion that scatters newly formed elements across the cosmos. In essence: fertilising the universe.

Forged in the heart of a supernova, copper is an inherited material of celestial origins, this sculpture embodies our intrinsic connection with the cosmos. Utilising fumage, oxidisation and bashing – transforming the material through destructive means – Creation through Destruction embodies the role of Alchemy in conjunction with Astronomical Observation, replicating the cosmos on a comparatively quantum scale through chemistry and physics: “What is Above corresponds to that which is Below” The Emerald Tablet (trans. 12th Century). Only through replicating the cosmos, can we truly understand it.

14/09/2026

Congratulations to our class of 2026 on completing their MA in Art in Science. Check out their final Major Projects at www.liverpooldegreeshow.co.uk/programmes/ma-art-in-science/ Link in bio.

‘Collage for Change’ (2026) is a practice-based research project by Collage for Change created to explore how collage can be used to visualise and explain different anthropogenic effects on the environment. The process of cutting, juxtaposing, layering and combining images within collage practice, makes it a unique method to visually comprehend tricky environmental concepts.

Aoife’s work throughout her major project explored the negative environmental impacts of generative artificial intelligence (AI) and the datacentres that house it. With the increasing popularity and current ‘boom’ of generative AI, it was a topical and important focus for Aoife’s work. The work aimed to communicate the environmental costs of generative AI, while providing insight to potential solutions to the problem.

The zine ‘AI is generating… environmental problems’ was created to explore these issues in an understandable and engaging dissemination format. The zine uses a combination of abstract collage and scientific data to explain what generative AI is, the problems caused by it and how datacentres could be more environmentally friendly.

The body of collage work created for the zine was developed to be stand-alone pieces outside of the zine format. The individual collages were displayed in an exhibition in the John Lennon Art and Design Building. The Collage for Change exhibition aimed to engage the public in the collages and create a space to communicate the environmental costs of generative AI.

The complete body of collage work and full zine are available to view on Aoife’s website.

14/09/2026

Congratulations to our class of 2026 on completing their MA in Art in Science. Check out their final Major Projects at www.liverpooldegreeshow.co.uk/programmes/ma-art-in-science/ Link in bio.

Sarah Leader’s Major Project “Repatriating Dignity to the Unknown” stems from her research into the phenomena around unidentified human lives and the role of secondary identifiers. Taking a bricolage role of practice-based artist and curator, she has explored how forensics and creativity can unify in which to ethically aid recognition of these lives, by memorialising the individual persons and raising awareness of the organisations responsible for identifying them.

Informed by discussions with subject matter experts, “The Inquiry Room” was conceptualised and curated, to encourage public discourse. Taking place at Bridewell Studios and Gallery as part of the Independent Liverpool Biennial in June 2025, it featured contributions from Dr. Maria Maclennan, Dr. Heather Panter, Stasia Parker, Katie Taylor, Sam Waiting and Locate International. Visitors were invited to take on an investigative role by anonymously participating in research. Discussions continue around extending the reach of this transdisciplinary project with a catalogue and report available to those who’d like to find out more.

Leader continues to explore themes around materiality and memorialisation which include “Articles of Interest”, “Petalworks” and “Trace Fossils”.

14/09/2026

Congratulations to our class of 2026 on completing their MA in Art in Science. Check out their final Major Projects at www.liverpooldegreeshow.co.uk/programmes/ma-art-in-science/ Link in bio.

‘Wombstories’ is practice-led research project by Elizabeth Longwill that explores how lived experiences of the womb can be articulated, visualised and shared through contemporary artistic practice and a critical medical humanities lens.

Contemporary art practice can critically operate within the medical humanities by questioning institutional structures and dominant modes of representing the body, while offering alternative ways of visualising embodied experience. ‘Wombstories’ seeks to open this space by bringing visual art practice into dialogue with lived narratives, using personal experience to challenge and extend clinical and institutional representations of the womb. Liz’s practice combines shared narrative ‘Wombstories’ with research and reflective studio practice to create artworks that present an alternative view to medical imaging.

‘Wombstories’ speak of lived experiences feeling and emotions, they invoke and inspire me to create artworks that aim to cast threads across the divide between body and mind, art and science, and pull them closer together.

14/09/2026

Congratulations to our class of 2026 on completing their MA in Art in Science. Check out their final Major Projects at www.liverpooldegreeshow.co.uk/programmes/ma-art-in-science/ Link in bio.

‘Look But Don’t Touch’ (2026) is a practice-based research project by .madi exploring how artistic approaches can create new ways of documenting and preserving plant life. The project focuses on Paphiopedilum lawrenceanum, a critically endangered species of slipper orchid, and considers how botanical archives might be reimagined to encourage greater public engagement with plant conservation issues.

The project combines sculpture, digital media, sound, and scientific data to create a hybrid archive of the orchid. A 3D-printed resin sculpture represents the plant physically, whilst a digital archive brings together genetic information and artistic interpretations of the species.

A key element of the project is a bioelectric music piece, which translates electrical signals from a living orchid into sound, allowing the plant to become an active participant in the work. An interactive fictional archive set in 2080 further explores how plants might be remembered and preserved in the future.

Together, these elements explore alternative ways of collecting, preserving, and communicating knowledge about plants through art and technology.

19/08/2026

Bringing together work from the MA Art in Science graduating class of 2026, ‘REFOCUS’ offers a glimpse into their innovative projects exploring the intersections of art and science.

Orla Linehan-Fox, Heather Grant, Sarah Leader, Aoife Lewis, Elizabeth Longwill and Hannah Peacey, reveal how disciplines can come together to spark new ways of understanding the world. Combining scientific inquiry with artistic expression, their practice-research projects explore anatomical archives and the ethics of display, critical medical humanities, astrophysics and alchemy, botanical conservation, environmental activism, and forensic identification. Each project is a testament to the shared curiosity that drives both art and science.

‘REFOCUS’ is an installation of photographs, artefacts and online portfolios in the Atrium Gallery at Liverpool School of Art and Creative Industries’ John Lennon Art and Design building, open 19-27 August 9.30am-4.30pm (Mon-Fri) and free to all.

15/08/2026

Our full time students have been hard at work producing their Major Project outcomes ahead of the final assessment deadline next week! “The Skeleton in the Closet” by has been a one-year investigation of an authentic human anatomical teaching skeleton (ATS) within the School of Art & Creative Industries at LJMU. With expertise guidance and collaboration in experts from forensic anthropology, collaboration with the Fab Lab, and collation of oral histories, this case study explores the ethical considerations of continued use of ATS’s, including concerns surrounding consent, storage, use, digitisation and care.

These ethical considerations are explored through an artistic lens, using drawing as research method. This has enabled the ability to process a thread of questioning through practical study, provoking critical thinking and reflection through drawing. Addressing and reassessing what might be considered appropriate ‘use’, where consent is not present, focussing more upon the process than the result.

This practice-led research has been collated and presented to senior management to request the donation of the ATS from the School of Art & Creative Industries to a facility in the Forensic Anthropology department for continued stewardship.

Image: Pencil study of human vertebrae - this is a drawing of fake plastic bones to act ethically in the portrayal of human remains where provenance, consent and identity are

Art in Science MA

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