Portfolio, 2020

This portfolio represents a selection of the artist's work.


Beneath Us
 is a photographic and sonic installation, produced by the collaboration of Radha Chaddah and Dan Bédard. The subject matter is the hidden realms that exist at a scale invisible to us. Chaddah removed tiny specks of wax from the bottom of a beehive, coated them in gold and photographed them using a scanning electron microscope that can see 180,000 times life size. Bédard created the sonic score by morphing traditional instrument sounds with bee sounds and then pushing this blend through a digital topography of Chaddah’s photographs using software that brings out hidden resonances. Beneath Us is titled to reflect the difference between the perception and reality of our place in nature. Humans largely behave as though all other creatures are beneath us in a hierarchy of life. In reality, we rely on bees for our survival, while they have no need of us. Bees are a supportive foundation beneath us. This work symbolizes the invisibility of non-human narratives, the essential interrelatedness and interdependency of living things, and the beauty and fragility of these relationships.

Awakening, 2012

I make my art because I wish to explore the beauty and complexity of the cellular world using the power of scientific discovery and methodology. I choose to present the unseen for consideration. The cells in these photographs have been grown from different kinds of stem cells, and represent a progression in the accumulation of knowledge that has led us to this moment, where scientists now understand how to reprogram adult cells to become embryonic-like stem cells. There are gaps in this understanding as it relates to our ability to cure disease and degeneration. These dark places are where human imagination lies, teeming with desire to control our biology for myriad ends. Crawling over the abyss is the cell, growing in a dish liberated from the control of the body, tiny unit of ourselves and all living things.

Cell Cave is an immersive cellular projected light installation. Visitors are invited to explore this magnified neural cellular world created from fluorescent micrographs. The cells in these projections are neurons and astrocytes that the artist grew from neural stem cells in the laboratory of Dr. Derek van der Kooy at the University of Toronto. Astrocytes are star shaped cells that act as master regulators of the brain. They connect neurons and blood vessels, create the blood brain barrier, and clean up metabolic waste. Neurons are long and stringy in appearance and transmit information through electrical and chemical signals at immense speeds. This cellular world is part of our largely unconsidered and unseen reality. The internal skeletons of these cells have been made visible by labeling the bones of the cells with different colored fluorescent antibodies. Laser light activates the fluorescent molecules and the light they emit is photographed. Cell Cave symbolizes the invisible realities that underlie our existence, and the delusion of self-perception created by egocentric human perspectives.

Fabric of the Universe, 2014

Electromagnetic energy surrounds us. It envelops the earth and ripples outward like a giant net ensnaring planets, galaxies and beyond. We are unable to see this fabric of the universe. Here it is presented as an undulating grid, modelling the surface of electromagnetic fields found in our earthly and stellar environments. The torus or donut pattern of electromagnetism that surrounds each human is thought to be a possible shape of our universe. The rippled surface that spreads outward from a droplet of water hitting a surface has been presented as the shape of the big bang. The funnel is believed to be the form of black holes and the exhale of dying stars. The play of wind in the trees and the shifting perspective of the approaching viewer suggests the multidimensionality of our cosmic reality. Fabric of the Universe signifies the limited and illusory nature of human experience.

Parmi les Éclats is an autobiographical piece of theatre about a woman shattered by the loss of love. Conceived of by Miriam Cusson, the development of the piece was experimental, with designers and players inspiring and shaping it over the course of a year and a half in a multidisciplinary collaboration. In her role as projected lighting designer, Chaddah imaged the shattered essence of Cusson’s identity using a scanning electron microscope that is able to probe materials with extremely high magnification, depth and dimension. The imaged materials were chosen by Cusson as a symbolic representations of facets of her identity such as a fragment of the mountain across from where Miriam grew up--her childhood refuge; a piece of slag from the omnipresent mining industry in Sudbury, a twig of gnarled and hardy black spruce, a broken baby tooth, a piece of skin, hair, and fingernail. These images were projected onto large 3 dimensional set pieces to create the psychic space represented onstage.

Based on Brigitte Haentjens’ poetic story d’eclats de peines, with poetry by Robert Dickson and Miriam Cusson. Director and Original Concept: Miriam Cusson, Featuring: France Huot, Manon St-Jules, Stephanie Kym Tougas and Miriam Cusson. Assistant Director and Management: Sophie Duhcarme, Soundscape: Daniel Bedard,  Projected Imagery and Animation: Design Radha Chaddah, Set Design: Patrick Harrop, Lighting Design: Ivan Pitre, Video Programming: Ryan Webber. 

Humans are part of nature. All of our manifestations of thought, action and being, from demonic to divine, are a piece of the continuum of life. Our efforts to exploit the environment for our own ends is not unique among animals, but the fruits of our labour stand alone. A culmination of human ingenuity has led to the convergence of robotics, nanotechnology and bioengineering. This installation signifies the blinding brilliance and terror that exists at the intersection of these disciplines, as we prepare to merge man and machine.

Memory is Architecture. Temple of the Mind evokes the process of memory formation in the brain. Messengers are delivered from the nucleus of a neural cell and travel out into the branches. In different places and at different times the molecular messengers cause structural proteins to be assembled. These proteins fortify the architecture of the cell, strengthen the skeleton and create new branches. This is memory. It is a process in motion. Molecules in motion, cemented in structure, and undone by degeneration.

We combined cell and molecular research on memory formation with 3D modelling, animation and projector mapping to create Temple of the Mind. This piece came from a continuing desire to explore the unseen. We took inspiration from visualizations of memory formation presented in a recent paper in Science, and from the idea that the mind is the centre of spirituality, alive with a multidimensional flow of energy.

Metamorphosis, 2011

Patterns are ubiquitous in nature from the macro to the micro. Cells are patterned internally and then laid down in layers that in turn pattern tissues, organs and the body. During metamorphosis, all of the cells in the body of a caterpillar are reorganized and re-patterned as the great change creates a butterfly. Humans are poised at the precipice of a metamorphosis powered by biological understanding. Our knowledge has yet to transcend our inability to cure many diseases, but the promise of our growing awareness inspires hope and awe. In ‘Patterns and Metamorphosis” I present transparent cell photographs mounted on chrysalis shaped structures illuminated from inside and hung inside the boughs of a chestnut tree as lanterns that represent this beautiful, inspiring and fearful moment when all is possible, but exactly what will emerge is unknown.

The brain is a vast array of connecting cells. Electrical impulses travel along the outer surface of these cells from neighbour to neighbour, radiating out across an immense network. Even the mind at rest is alive with synchronized electrical impulses. Redshift carries this electrical conversation out of the body and onto surrounding trees by using EEG headsets, an app based interface and projected light. Red shift happens when light from an object travelling away from an observer is increased in wavelength, or shifted to the red end of the spectrum. This is how we discovered that the universe is expanding, as mostly all celestial bodies emit red light, so are travelling away from earth. In this installation, the active thinking waves (Beta) create an expanding ripple that falls outward over the trees in the same shape as electromagnetic waves that radiate out from the big bang. Delta, Theta, Alpha and Gamma waves travel in the opposite direction, toward the epicentre of the ‘big bang’ Beta waves, shifting toward red as they go. The electrical energy of the brain is internal, yet one’s psychic energy radiates outward to be felt by others. Redshift symbolizes the mobility of psychic energy, and the transformative power of imperceptible forces.

Exodus, 2015

Exodus is a photographic exhibition of cells grown from human skin. Cell biologists have discovered how to transform normal skin cells into embryonic stem cells. I grew these transformed cells in a petri dish and fed them a liquid diet that allowed them to become neural stem cells, and then brain cells like neurons and astrocytes. Using fluorescent antibodies, I stained the cells to allow visualization of their internal skeletons. 

Exodus explores the rise of science as religion. Science and religion seek knowledge of the universe by different means: reason and empiricism, versus revelation and faith. The central message of the book of Exodus is salvation and redemption. Modern societies have vested scientific enterprises like regenerative medicine with these same values. Hope for salvation from disease and ageing and the pursuit of the everlasting beg deliverance by scientific discovery. The re-birth, scattering and creation of novel colonies by these transformed cells parallels the story of Exodus with the establishment of a new world remade by the hand of man.

Using Format