Karen Ingham is an artist and writer and a Reader in Art and Science Interactions at Swansea Metropolitan University. She holds a doctorate in research into historical and contemporary art and science collaborations in the anatomical theatre, and her work is internationally exhibited and disseminated including: MOMA, the ICA London, the Berlin and Edinburgh Film Festivals, the Enter3 Festival Prague, Waag Amsterdam, SCANZ 2011 New Zealand, and The National Museum and Gallery of Wales amongst other venues. She has several publications in distribution with Dewi Lewis Publishing, Ffotogallery Publications, and Seren Books. Ingham’s primary art form is lens-based arts. Major themes are: biomedical discourse and museology, Narrative Remains (2009), the theatre and body of anatomy, Anatomy Lessons (2004); art and neuroscience, Seeds of Memory (2006), Variance (2011) and Piece of Mind Mask Series (2011); mutability and the vanitas, Vanitas:Seed-Head (2005); the photographic memento-mori, Death’s Witness (2001); art, science and technology interactions, Fragile Mass (2008) and taxonomies of natural history, Unnatural Histories (2008). She has received support from The Wellcome Trust, The Arts & Humanities Research Council, The Arts Council of Wales and The Calouste Gulbenkian Foundation to exhibit, tour and publish a series of artist’s interventions. These interventions are often staged in exclusive domains such as the Dissecting Room, the Anatomical Museum, and the Medical Research Laboratory. Her practice often addresses the museum space and museology and her fascination with the Wunderkammer (Wonder Chamber) is reflected in her interest in the intersections between art, science and technology.