About Heather...

Heather Freeman has been interested in science since a child.   She is particularly interestd in the language and symbolic forms of science and where these intersect with mythic, religious and popular iconography. Freeman believes science has merged with popular culture to become a covertly "universal" religion; the unacknowledged religion of the "truth" we seek on television, in the movies, in comic books and video games. She is particularly interested in ways we import these very public and secular languages and symbols into the very private languages of family, friendships and spirituality.

She now looks for "Truths", myths, superstitions and expectations of the past to see where reality may lie - but also to point out and accentuate its occasional absurdity. Freeman attempts to postulate, explore, and divulge these ideas, thereby forming, simultaneously, her own applied mythologies and her own private science.

Heather Freeman received her undergraduate degree in Fine Arts and German Studies from Oberlin College in 1993.   In the Fall of 1998, she entered the MFA program at the Mason Gross School if the Arts of Rutgers University at New Brunswick, New Jersey with a concentration in installation.   While exploring the relationship between the history of science and metaphysics, Freeman's medium of choice became single channel video and digital print.  

After a brief flirtation with advertising, Freeman taught art at Allegheny College in Meadville, Pennsylvania.   She is currently continuing her research in computer art and video at the University of Kentucky where she is a tenure track Assistant Professor of New Media.  

Artist's Statement...

As a child I loved science, but Western science’s tendency to dismiss anything that threatened standing theories bothered me. Western science shoved myth under the heading of social anthropology, conveniently rendering it harmless. I didn’t want to challenge science, but I wanted to expand mythology, to create my own. Since the inception of the scientific method, politics, political religion, blind-sighting skepticism, and the violent desire for the accuracy of a (false) hypothesis have all perverted this system’s elegance and effectiveness. Today, both academe and industry struggle with their own demons to preserve the scientific method, in order to discover “Truth”. I am still interested in science as subject matter, but particularly the language and symbolic forms of science and where these intersect with mythic, religious and popular iconographies. I believe science has merged with popular culture to become a covertly “universal” religion; the unacknowledged religion of the “truth” we seek on television, in the movies, in comic books and video games. I am particularly interested in ways we import these very public and secular languages and symbols into the very private languages of family, friendships and spirituality. I now look for “Truths”, myths, superstitions and expectations of the past to see where reality may lie -- but also to point out and accentuate its occasional absurdity. In my art, I postulate, explore, and divulge these ideas, thereby forming, simultaneously, my own applied mythologies and my own private science.

:: Lydia Grey ::