This article explores the process by which biomorphic art influenced by Henri Bergson's philosophy encounters protein structures and becomes biomorphic protein art. The biomorphic presentation of proteins is a kind of art practice that applies biomorphs to protein structures by practically utilizing Bergson's “aesthetic intuition.” It not only has aesthetic peculiarity in itself but also is used to reveal the structure-function relationship and structure-identity relationship of proteins. As a result, biomorphic protein art, which presents information about the structure, function and identity of proteins through aesthetic intuition, helps us to analyze proteins in a novel way and restores our potential creativity.

This article explores an ensemble of technical objects and biological objects in bio-art and proposes aesthetic values that the ensemble reveals. French philosopher Gilbert Simondon considered technical objects carefully in the 1950s. In his study, he was alert to an assimilation of technical objects to biological objects. In our time, the development of molecular biology and genetic engineering offers evidence that technical objects are closely linked to biological objects. The process of concretizing technical objects and biological objects is latent in works of bio-art, which therefore can realize aesthetic potentials that technical objects and biological objects imply.