How Research Relates to My Drawing

With a little bit more time on my hands I have had the opportunity to both draw more and focus in on my research. First - a redux of what I do research wise.

I work with Alberto Bosque, a post-doctorate fellow from Spain who is over here on commission of the Spanish Departmente of Health, who Vicente Planelles (the PI of the lab and also Spanish) personally wanted to work with because he is a brilliant and laid back dude.

One cool cat.

Alberto is researching the latency pathways in the HIV life cycle. To explain what we are doing requires a little background. The HIV virus (shown below) binds to the T cells (and more specifically the CD4+ memory cells) in your immune system. Because the outer layer glycoproteins so closely resemble those of your own cells, they are not destroyed and will bind to the membrane of the host cell. They then inject the viral capsid into the cell, which degrades. There is now some free RNA floating in the cell with a reverse transcriptase attached (more on that guy in a second.) Since cells have all kinds of RNA floating around it doesn't concern itself with where the RNA came from, because free RNA is free RNA.

So the reverse transcriptase tells the cell "Hey you know where I go? In the nucleus! And while I'm there you should integrate me into your genome!" The cell, being stupid (or blissfully ignorant depending on how you look at it) says "Dur yeah let's do that." and you now have the coding regions for HIV in this cell.

HIV has a small genome, only encoding for 19 different proteins (any cell in your body codes for about 40-400 different proteins depending on the cell). Like most viruses it hijacks the host cell machinery to make copies of itself. On a related note, the other half of the lab is doing research on the Vpr coding region and it's function on expression and regulation of viral production - which is hotly debated.

So, say you have some HIV in your cells and don't want it going into full blown AIDS - currently your two options are 1) seek out the Ancient Chalice of Zhara'Gruum or 2) go on a system of Highly Active Anti-Retoviral Treatments (HAART) which are extremely time consuming and costly. What these treatments do is block the expression of the integrated HIV genes, preventing them from reproducing and infecting more cells. This is called the 'latent' phase of HIV - meaning that it is present and has the capability for reproducing but NOT expressing any of the genes for coding of the proteins.

The catch however, is that once you stop taking the HAART medications, the virus reactivates and starts coding again. Even if you took the drugs for years and years and waited for the turnover of infected cells to be replaced by non-infected cells there is still a chance that one of the billions of cells in your body has the HIV genome inside of it, and as any zombie aficionado knows, it only takes one to start a new infection.

We know exactly how to drive the viral genes into latency, but how it comes out of latency is a whole different matter entirely - they use different signaling pathways. That's where my work with Alberto comes in - I am currently designing lines of cells with a particular genomic makeup to uptake parts of the HIV genome, then mess with the signaling pathways to single out different molecules that are both necessary AND sufficient (this phrase is branded into every cellular biologist's flesh) for coming out of latency.

Basically what I have been doing for the last 3 months is doing a series of mutations in a plasmid (circular ring of DNA) called pMACS-Kk which is in an E. Coli organism. So far I have introduced 3 different restriction sites into the plasmid, effectively making it pMACS-Kk-NcoI-XhoI-NotI. This is important because the spacing of these restriction sites along the plasmid will determine how the HIV genome is integrated and how I can target my signaling proteins. I am on the last step of confirming I have the mutations I want, at which point I can begin to introduce the HIV coding regions I want.

Aww they're so cute and fuzzy!

What the hell does this have to do with art and life?

Everything I do in the lab is focused on my two favorite buzz words: process and magnitude. The research I am doing is very focused on process - perfecting the processes I carry out in the lab and a search to understand the processes happening at a cellular/molecular level. The magnitudes involved are on the order of 10^-8 (messing around with different base pairs) to 10^6 (the amount of cells I can fit in a single millilitre of media). Research shows me how process occurs in different magnitudes and the interrelations involved.

My art is likewise affected - I see processes in the microscope that make me pause and think 'that is beautiful' and as I draw what I saw begins to appear - bubbling out of the primordial doodles. The rough wrinkles of the lipid membrane budding with HIV virons - a tentacled lymphocyte attached - could be an octopus clinging onto a coral reef or nebulae rich with stars obscured by interstellar dust clouds. The forms I see under the microscope mirror as the ones I see through a telescope. It's all a question of magnitude.

With that in mind here's what I have been drawing that is influenced by my research.

I drew this after a week of learning how to split and culture two very difficult but important types of cells - HeLa (pronounced like Gila) and 293 FTR. I was using a very high precision light microscope and could see huge clusters of cells (the cells get attached to a foci and like to clump together - it's a real pain in the ass.)

My side notes said I was really frustrated (with research or art?) but looking back i really enjoyed this. The big sphere in the middle looks similar to binary star systems or the nucleus surrounded by the endoplasmic reticulum.

I spend a lot of time looking at diagrams of cell surface proteins, and they always look very boring and static. You can see one above in the HIV viron, little green balls on sticks protruding from a purple circle. Boring. I always think of the cellular envelope as this ocean of flowing protein, with receptors and surface proteins as buoys bobbing around.

I look at this and see a cocoon. Cocoons have nothing to do with my research.

And this is a drawing of one of my rats, Bjorngaard, and DNA Helicase 'unzipping' some DNA. Then I just doodled.

Sky Jelly Fish

I haven't been drawing a lot lately since I have been so busy with lab work and school. Today was a nice change to that by taking some acid with Jordan and drawing. We began by playing D&D, in which the characters were exploring a series of Dwarven tombs laid out according to genealogy of the Dwarven Thanes. After the acid started kicking in it was nigh impossible to keep focus and tell a story and I became entranced by my sketchpad.

The strangest sensation was feeling completely detached from my hands, not being cognizant of their working as I was drawing. It became as though my mind would visualize it and it would start magically flowing and appear on the paper. It was a lot of fun, and I got pretty lost in my own little world, as I tend to do when I draw.

There are lots of small vignettes, starting with the map of the Dwarven Thanes up in the right hand corner. In the middle, there is the Sky Jellyfish, who is sweeping across a plateau towards a city and melding into the clouds. Coming out of the clouds is a monster with a steam leak, which culminates in a shai-hulud (the worms from Dune.) To the bottom is a drippy cave of stalactites and an unholy toothed altar. Up at the top there is a mushroom cloud with a psychedelic skull which also kind of looks like a large tree rising up.

Though nowhere near as epic as 'Skycat and the World of Tomorrow' this is some solid art on my part, and I had a lot of fun drawing it.

Late Summer 2008 Drawings

These are some drawings from the later half of the summer of 2008, after I returned from California.

Early ideas of space whales, playing mostly with blue and sperm whales since they are both archetypical and huge!

This is a drawing Max and I did during that summer. I think the picture pretty much explains it all. Hippy in a space suit (with a patch because he reduces, reuses, and recyles, man) tethered to an interstellar VW Bus with a zero-g vacuum bong, spreading good will and good times to a grandfatherly ringed planet. Peace on groovy space brother!

I spent a lot of my down time (recovering from work or tripping) by watching Wonder Showzen and smoking my neighbor's 'Killer Bud'. This is one of the heavier night's products.

Max and I had a conversation at Jopi's protocol palace of what the song 'Diesel' by Orange Goblin conjured in our minds. Mine was the devil (looking like a Hell's Angel), riding a motorcycle made of Christ's cross and fueled by the souls of the damned. We also decided that old school heavy metal should be about 3 things: Riding Fast, Living Hard, and Satan.

That's it for now, I am gradually getting more art scanned in along with the stories behind them!

Space Whale vs. Void Kraken

This is the only picture I have scanned in on this computer at the moment, but it's a good one. Never got around to finishing it, the blue blob in the corner was going to be a nebula with stars inked in, but moved on and never came back. If one day I finish it, I will post it here for comparison.


This particular piece is a translation of the old 19th century maritime woodcuts of giant sperm whales wrestling against giant squids. But in space.

The background -
During the summer of 2008, I was doing a lot of pyschedelic drugs. At this juncture of the story, I was out in Southern California visiting my best friend Max and his friend Lauryn. Max and I were heading to Comic-Con, and caught a ride with Lauryn down to San Diego. We began the day with a couple hits of acid and adventured around UCSD - a story for another time.

After a good trip around the balmy and beautiful modern architecture of UCSD we went to stay with Max's step-father's mother, Jopi - one of the most down to earth and relaxed individuals I have ever met. Unfortunately, due to the strength of the acid and a long day in the sun combined with Jopi's thick Dutch accent, I was far from social functionality. I wound up making an ass of myself, which bothered me to no end until I realized that Jopi didn't care, she was just happy to have me there.

We conversed with Jopi for a few hours, but she was off to the Pops! (classical musical concert.) Max and I decided that we would take another couple of hits of acid and trip around Jopi's extremely protocol (def: conducive to good living) house. Cranking the Orange Goblin we talked about psychedelic seers traversing the desert, the nature of distortion and perception regarding psychedelic insights, and hammered out what it took for good living. This list later became 'Grandma's Good Living Protocols' - which is another story for another time.

As the night wore on we sat out on the upstairs balcony, which overlooks La Jolla Bay and the tranquil ocean. We slept under the stars that night, which looked like stick and ball models of complex organic molecules. We debated and discussed the important issue of vampires vs. werewolfs - deciding that while vampires were classy and multifaceted with many cool archetypes, werewolves were just plain shit-wreckers.

Towards the end of the night, as the clouds rolled in over the bay, I expressed to Max my deep fear of the ocean combined with my fascination of marine biology. We compared the deep blackness of the ocean to that of the cosmos - and in that comparison we imagined pods of whales on the same scale singing a haunting song throughout the universe. Behind them trailed dust, planetesimals, perhaps even worlds inhabited by life. But perhaps civilizations lived upon the space whale like the ancient legend of the zaratan turtles.

Max revealed to me that he wasn't satisfied with engineering - that he wanted to be an illustrator. We both committed to each other not to let our scientific careers get in the way of our art - and my first drawings of the space whales came soon after.