This week The Guardian asked artists and writers to design images of money that would be appropriate for our times. As one can imagine, numerous themes have been explored by the artists concerned. John Gray (above) and Jonathan Frantzen (below) both take up the theme of endangered species, highlighting that, once gone, they will never return.

Others make broader social commentaries. Alasdair Gray (below) highlights the fact that, in the developed world, we have far more money than we need suggesting that the accumulation of money has gone far beyond satisfying our basic needs. Anne Enright (below that) designs the new currency for Ireland when it tumbles out of the Euro – a return to Celtic values with Yeats’s lines as the reminder that “we have fed the heart on fantasies”.

But my favourite of the lot is the simple, pointed and harsh commentary from British artist Tracy Emin.

I recently visited an exhibition of the work of Sanna Kannisto and bought the recently published book about her work. The work of this young Finnish artist is fascinating. It questions how, in order to understand and describe, science has to simplify and can never hope to capture the true complexity of life.

The body of work that Sanna has accumulated reproduces the methods of field scientists. She takes items – birds, plants, other animals – out of where they normally live and uses a makeshift field studio to photograph them. Her photographs are designed to emphasize the fact that these creatures have been isolated, their existence simplified, so that we can observe and study them – and attempt to understand something about them.

In Sanna’s images, the artificiality of the setting in which these animals and plants are “studied” is striking.  It serves to highlight the artificiality that we construct when studying nature. Even as science pretends that it is transmitting some form of reality, these images highlight that science, like all else we do, is a human-constructed, cultural framework that simply represents one way of seeing the world.

Simple additions like a ruler or some other human method of observation and measurement serve to highlight the objectification of these creatures as objects of scientific study.

The images avoid, in many cases, any attempt to be aesthetically pleasing – they are supposed to be “scientific” examinations not romantic imagery. Many of the images are then simply labeled with the scientific names of the animal or plant that is photographed – a statement that seems to stamp the supposed scientific authority of “truth” and “knowledge” on to the image. It is as though, in clearly labeling a natural object with a scientific name, someone is saying, with the force of an authority that cannot be challenged, “this is what this is – we understand it and know everything about it”.

Images of her field studio further highlight the artifice of the method of “study”.

Contrasting these images of simplified (and maybe simplistic) artifice, are some images (below) that attempt to show the impenetrable complexity of the tropical rain forest. The messy, confusing, incomprehensible nature of the “immense disorder” of whole forest is juxtaposed with the clinical, artificial simplification of the individual studied objects.

Steve Baker in his essay introducing the monograph of Kannisto’s work summarizes the project as being intended  “..to represent – and, simultaneously, to acknowledge the impossibility of representing in any conventional manner – the baffling complexity of the tropical rainforest”.

It is clear from this work, that it is not only science which has to simplify in an attempt to comprehend. We end up much more drawn to clean simplicity of the images of the isolated bird or plant than the chaotic image of the unadulterated forest. Imagery – and all the arts – also simplify in an attempt to allow us to comprehend. The complexity of nature that is all around us is impossible for us humans to understand. We need to chop it up, simplify it and create limited, artificial models and languages of description in an attempt to gain some sort of comprehension. We create limited, though useful, ways of seeing.  The danger comes when the scientist, the artist, the economist, the anthropologist, the historian or anyone else starts to believe that his particular way of seeing represents the unassailable “truth”. Sanna Kannisto’s work gives the lie to any such self-delusion.

The shock waves to the global economy provided a narrow window of opportunity during which, stunned, people questioned for a brief moment the wisdom of our culture of unsustainable excess. But no practical and implementable solutions have been forthcoming.

At Art Basel, Miami Beach in December 2008, Chinese artist Zheng Guogu presented an installation called “Lehman Gate” – a commemoration of the collapse of Lehman Brothers and the rapid collapse of the world’s financial system that followed.

A series of images installed as rooms through which you could enter and exit were coupled with a ‘Commemorative Plaque’, to create an installation that made visible the consequences of the arrogance and excesses of unbridled capitalism as epitomized by Wall Street’s institutions and their negligent (and often complicit) regulators.

I remember walking through the hugely popular installation and having the same feeling that one gets when confronted by images of any other major human catastrophe.  The images had a powerful effect when viewed in the immediate aftermath of the economic collapse.

I should have realized then that, just as we move past and easily forget other catastrophes, ignoring their lessons and getting back to our usual ways as quickly as possible, so it would be with this economic collapse.

At the time of writing of this post, the S&P 500 has hit its highest point in a year and the start of an economic recovery is visible.  People’s minds have turned back to how quickly they can get back to their pre-collapse patterns of spending and consumption.  A unique window of opportunity for change is closing.

It also seems ironic that it should be a Chinese artist presented by a Chinese group (Vitamin Creative Space) that should have presented this installation.  Here is an extract from the commemorative plaque:

Slippage Gate  (Who is picking up the tab for the USA )

Lehman Gate (Who is to be rescued with 8500 hundred million US dollars)

“A Violent cure” 
Is the commemorative plaque

In the movement of an accelerated history

Sorry, the medicine’s efficacy is difficult to anticipate

We are no longer brothers

If trust is betrayed