ABSTRACT The author provides a personal description of how he became an artist and the role of science within his work of the past 25 years. He describes several artworks and their relationship to the science that informs them, addresses how he uses different media toward different ends and traces changes in his representation of certain physical concepts over time, drawing attention to how and why it happened. The emphasis is on his aesthetic development rather than on the conceptual framework for the artwork, which has been covered in previous articles.

The author describes The Crying Post Project , an artwork consisting primarily of wood staffs with solar-powered “cry generators” placed at different sites throughout the globe, at locations of environmental and/or social damage. Its two other components include an interactive 3D web site, which has been created as an alternative, data-rich venue for the project, and a series of digitally created photographic prints designed to capture the artist's emotional response to the sites. The artist also discusses how this artwork has been inspired by his research on the cross-cultural symbolism of trees, the indigenous Australian worldview, mapping theory and the relationship between language extinction and environmental destruction.