Brain of the Artist, engraving on glass, 35 x 30 x 14cm

Sir John Leighton, Director-General of the National Galleries of Scotland
It is a compelling combination of science and art. Palmer’s sculpture evokes the spirit of modern medical research but also conveys the beauty and mystery of this most vital human organ…In spite of the scientific objectivity of its source, this is an extremely intimate work of art. From 100 Masterpieces, National Galleries of Scotland by Sir John Leighton

Christopher Baker, Director of the National Portrait Gallery of Scotland
This remarkable sculpture is a most welcome addition to the collection. A delicate and ethereal work, it develops in a novel and arresting way the nature of self-portraiture, and showcases the creativity of a highly inventive Scottish artist.  More Information here

 

Ashmolean Mummy Child, ink drawn on glass sheets 32 x 94 x 30cm

Andrew Nairne, director of Kettle’s Yard, Cambridge
At the heart of her practice is a kind of intuitive personal research involving collaborations with, amongst others, scientists, engineers and archaeologists…Palmer’s achievement is to have found a way of experiment which enriches us all. From Unravelled catalogue introduction: See full catalogue here

Richard Dorment, Art Critic, The Daily Telegraph Nothing is more viscerally moving than the mummy of a two-year-old boy who died of pneumonia during the Roman occupation around 80 AD…Because the deceased here was a child, there was no portrait, so contemporary artist Angela Palmer has drawn images produced by recent cat-scans of the mummified corpse on to multiple sheets of glass to create a three dimensional representation of what lies underneath the linen wrapping. The result is a ghostly image of great beauty that seems to appear and disappear as you move across the glass panels. Full article here

 

Formula 1: Red Hot Orange Exhaust, resin  61 x 103 x 67cm

 

Brian Catling, Professor of Fine Art,  The Ruskin School of Drawing and Fine Art, Oxford University
The stunning clarity of these new objects in the world, instantly explains the grace of precision, made even more potent by the enigma of their contradiction of materials. The shock of their perfection is palpable and leads to the only possible conclusion: that we must be in the presence of immaculate fictions constructed from immaculate facts. From Adrenalin catalogue introduction. See full catalogue here

 

Eclipse, ink drawn on glass sheets 60 x 66 x 42cm

 

Andrew Billen, The Times
Here Palmer again closes the gap between art and science. Technology is brought into the artist’s service, resulting, perhaps, in the most memorable portrait of the stallion since George Stubbs’ in 1770. From Lifelines catalogue introduction: See full catalogue here