La Specola- Project 1

La Specola can fundamentally be referred to as the first medical school, for its capacity to educate individuals on the complex anatomy of man. It was the first of its kind in allowing for such endeavors without dealing directly with cadavers. Most strikingly, La Specola encompasses a rich history for its vast collections, ranging from beautifully lit and curated mineral collections to that of interesting early attempts at taxidermy, highlighting a primitive understanding of exotic animals (based on the immense collection of the Medici family). Perhaps the most striking aspect of La Specola’s remarkable collection of wax models, is the fact that a vast majority of the faces that have been cast in wax are in fact the real faces of the cadavers used for this assemblage. Additionally, in order to treat these individuals (mainly the females) with a strong sense of respect and humanity, one can find that the display of these wax models features real hair that has been there since La Specola’s inception. Further, La Specola features an impressive collection of animal skeletons, posing interesting perspectives on the difference in the collection and display of animals and humans. This particular collection features expansive species whilst also displaying animals in various stages of their lives.

Unique to La Specola’s Wunderkammer, is the astounding accuracy with which the Medici’s collections were preserved and displayed. In contrast to Venice’s impressive Natural History Museum, La Specola holds none of the glorification of such collections in order to impress. Whilst the former emphasizes curatorial enthusiasm in order to embody the very eclectic and uncertain nature of the Wunderkammer, the latter’s far more humble and direct display showcases a far more scientific curiosity.

Struck by the notions of preservations and the various methods employed in the preservation of vastly varying species, my own drawing project addresses the interruption of the decaying process. Fundamentally struck by the contrast of the fickleness of human skin and the permanence of bone found in the collection of animal skeletons, my project attempts to showcase the obscure beauty of the process of decay. Whilst the natural attitudes toward such processes is usually that of revolt (presumably due not solely to the smell but also the way in which decay displays fundamental truths about human death and the ephemeral nature of the human body), decay is a process that is visually beautiful and colorful bereft of our attachment to human life. In my own set of drawings, human faces are created in vibrant colors, seemingly disappearing into the surface of the work. Overlaid upon these drawings are detailed pen drawings of various animal skeletons, overtaking the human in scale. The use of such medium is employed as a gateway to the communication of permanence versus impermanence. The implication of both animals and humans in the work attempts to create a dialogue addressing the vanity and self-importance of human existence contrasted to the humble lives of animals. Further, each drawing features the real faces of the bodies cast in wax. Displayed in 4 rows, the drawings read from the top down, guiding the eye from left to right where the faces become progressively more abstracted, unrecognizable and bare.