The Tapestry of Science (previously Triptych of Science) is an exploration of scientific research culture through art. As part of the Good Science Project, and under the guidance of artist-in-residence Ella Miodownik, a group came together to make a work of art that examines and expresses our diverse experiences of science. The project was open to anyone working in research - not only scientists and students, but also the many roles sometimes overlooked in the process of science, from technicians to communicators. We asked: what is it in research culture that we admire and value? What are the perils and the pitfalls?

Research culture is the sum of influences - social, financial, and psychological - that impact the work of a scientist. These vary across laboratory, discipline, place and time. Common problems of research culture include pressure to publish, lack of time, hyper-competitiveness, overwork, promotion prospects, and the hunt for grants. Yet scientists also report a love of their work, a passion for new knowledge, a delight in acquiring skills, and a commitment to teaching and to trusting conversations with colleagues. 

The Good Science Project concerns itself with these daily virtues of scientific practice, which differ from the more famous and often-articulated aspects of research: breakthroughs, brilliance, and the triumphs of grants and publications.

The Tapestry of Science project fostered a community of creative practice to investigate the daily and ordinary practices of laboratory life, and the feelings that accompany the way of science. It was itself an experiment, run over three months, that captured visual traces of the features of research culture that are normally hidden.

Tapestry of science

Workshop film produced by Madisson McKone

We held weekly workshops from April – June 2024 to let go of rules and play with art, reflect on how we understand science and research culture, and practice new ways of working with and relating to each other. Over time, content from our conversations seeped into the artwork we made - a tapestry loosely based on the various qualities that influence scientific research, which now has a permanent home on the fourth floor of the Abdus Salaam library.

We ate a lot of sandwiches and drank orange juice together. We co-created the art piece, allowing ideas to develop during the workshops through conversation and material experimentation, and then worked asynchronously on our contributions to the tapestry. We spent hours materialising our ideas in silence, and hours chatting freely about our lives, weaving in and out of research culture.

Art installation

Detail of the artwork

Two transparent plastic laboratory flasks with the female or male sign drawn.

Connection

Two plates with several materials (e.g. wool) on them

Do it yourself

Several art materials (e.g. wool) and laboratory materials on a table; a piece of paper reads

Lab on a chip

Books on a table.

Literature

Arts and crafts and laboratory materials on a table; an A4 sheet of paper reads

Materials

A computer screen and notebook. The notebook has a photo of two people and a note saying ethnographer + videographer. An A4 sheet reads

Methodology

The project culminated in a pop-up exhibition at the Chaplaincy Multi-Faith Centre in July 2024. The exhibition, Experiment, was a recreation of our process as well as the product; the exhibit invited participants to view research culture practice from unexpected angles and question their assumptions about science. It was a continuation of the workshops, aiming to foster an exploratory, creative community, bonding through artmaking, critical thinking and shared responsibility. 

There is not a single research culture, just as there is not a single way of doing science. The task of investigating or reforming it is not an easy one, partly because the term is hard to define, or pin to a series of objectives. Creative and participatory methods can help us see research culture from different angles by asking different kinds of questions.  

How might we shift discussions around research culture to reflect the daily lives of the people within it? How can we embrace the fact that science is entangled in people, culture and communities? Should we reconsider what makes science good? 

Following these questions, our journey continues. Thank you for being a part of it.

Artist-in-residence: Ella Miodownik
Good Science Project Lead: Dr Stephen Webster
Ethnographer and curator: Mikayla Hu
Videographer: Madisson McKone