Steep is an international art/science research project examining the impact gold and gold nanoparticles have had in the past and could have in the future. Designed as a multi-year, multidisciplinary project with a rotating cast of collaborators, Steep is based on the current state of scientific research and its flexibility as a project reflects the uncertain and disruptive state of nanoscience and nanotechnology (as they are sometimes referred to). 

In the absence of a visceral sensing of the atmospheric ocean of particles and cues which are in dynamic flux with perception, Steep combines art+ science+ technology to explore sensing gold nanotechnology, where it accumulates, changes over time, and how it may affect living beings and the environment. The intention in Steep is to work on perceptualisation of invisible airborne particles, through art works. We breathe the sky into ourselves. Synthetic molecules may not only change the way the world behaves, but may also change perception. If we could sense the fullness of the atmosphere could we know the meanings present in its cyphers?  

Could we smell the changes of Climate Change?


Raewyn Turner’s interdisciplinary work is concerned with cross-sensory perception and the uncharted territories of the senses. Her work has involved large scale international performance in stadiums, working as a concept and design theatre artist and lighting designer and operator, creating videos, films and interactive installations and performances, working solo as well as in collaboration with artists, musicians, architects, dancers, performers and academics on installations, theater performances, exhibitions and screenings. She has worked with olfaction since 1999 and in collaboration with Dr Richard Newcomb, molecular biologist, NZ. in 2011 she was recipient of a Fulbright Travel Grant for an artists residency at Monell Chemical Senses Center, Philadelphia.  Her works have been shown in numerous national and international exhibitions and performances, including Museum of Contemporary Art, LA, Parque de las Ciencias, Granada, Spain, 11th Prague Quadrennial of Scenography and Theatre Architecture 2007,Prumyslovy Palace, Prague, Argentina, Georges Pompidou Center, Te Papa Museum, and Academy of Fine Arts New Zealand.

Brian Harris


Brian Harris creates computer controlled and embedded devices for motion picture cameras and other special projects for the local and international film industry. He has a science and electronics background. An independent designer for 30 years, he invents and creates large scale finely tuned adaptive mechatronics and bespoke equipment. His inventions for motion control, stabilising camera mounts for aerial photography and robotic trajectories have been used in local and international tv, commercial and film productions.

Raewyn Turner and Brian Harris individually and collaboratively engage simple elements with engineering to create experiential art. Their work utilises everyday objects re-interpreted with robotics which Brian develops for cameras in the film industry, along with Raewyn's olfactory research and art practise Over the past 4 years we’ve collaboratively created experiments around olfactory perception.

No Other Hands like Mine :  25th Annual Wallace Art Awards 2016

SMOTE : Ramp Gallery, Wintec, Waikato 2 Jun – 24 Jun

Mapping Emotional words to fragrances and flavours, Byte in the Land : Tasting words workshops, Europe 2017

Fallible Teknesyn at the V International Congress Synesthesia Science and Art 2015 Spain

Verdugos: Wallace Award2014 First Runner Up

Moss:  Space, Network, Memory, ADA Symposium, Auckland 2014

Downwind: ISEA 2013 Sydney, Australia

Toward the Mean:  2014 Kinetica Award, Puke Ariki, Taranaki  

Take My Shoes#1 : Development AIR, Auckland NZ 2013

SNATCH perfume, Sisters of Perpetual Resistance 2013

The Sky Fell Down And We Stepped Sideways 2013

4000 Varieties of Orange SCANZ NZ 2011


Maryse de la Giroday

I am fascinated with this project and look forward to adding my two cents worth regarding technical content and who knows, maybe some poetry?

Here's my 'official' description: publisher and writer of Canada's largest, independent, science blog, Maryxe writes about nanotechnology and science policy and communication, society, and the arts from a Canadian perspective. As an independent scholar, she has presented at the

  • 2009 International Symposium on Electronic Arts (Belfast and Dublin, Aug. 23 – Sept. 1) on the topic of 'Nanotechnology, storytelling, sensing and materiali
  • 2012 Society for the Study of Nanoscience and Emerging Technologies; Fourth Annual Meeting (University of Twente, Netherlands. Oct. 22 – 25) presentation on 'Zombies, brains, collapsing boundaries, and entanglement
  • 2012 (Fourth) Canadian Science Policy Conference (Calgary, Alberta, Canada,
    Nov. 5 – 7); Moderator for 'Thinking big: science culture and policy in Canada panel'

Switching back to the more personal, my writing practice is a process of exploration. In this case, the exploration is not focused solely on nanotechnology but the connections between seemingly disparate entities such as Chinese researchers trying to rediscover the recipe Damascus steel blades (the recipe lost since 1700, produced steel composed of carbon nantoubes) and a visual artist exploring the 'life cycle' of gold nanoparticles..