It has been shown that a large number of people, despite the wide availability of information (television, cinema, magazines, internet, etc.), have a very vague understanding of the environment, in particular the marine environment.

The idea of creating illustrations, sculptures, photos, articles, books and documentaries on environmental themes, and in particular on marine organisms, resulted from the realisation that visual forms are an essential complement to the wider spread of knowledge and ideas, a possible paradigm between aesthetics, art and science.

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Stephen Jay Gould (1941-2002) wrote in an article, published in "Natural History" magazine (April 1987), that "Scientists analyse the world. Primates are visual animals, and the key to concepts and their history often lies in iconography.

Scientific illustrations are not frills or summaries; they are foci for modes of thought and thought is science, because when we observe a phenomenon, our minds interpret it and construct it according to our history and culture".


The relationship between design, plastic arts and knowledge, therefore, is not simply a case of using technical solutions to enhance art, nor of using art to describe and summarise science. However, in the case of design and scientific sculpture, how they interact determines our way of perceiving and understanding the world around us.

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