Yearly Archives: 2017

Review: Gut Gardening

This post comes to you from EcoArtScotland

Ewan Davidson reviews Gut Gardening, Food Phreaking:issue 03 from the Center for Genomic Gastronomy, published Oct 2016.  You can order copies here.

Ewan Davidson is a blogger and self-identified psychogeographer ( His recent wanderings have taken back into familiar territories, those of ecology, natural metaphors and causality, he first visited as a student thirty years ago. He is also really fond of lichens and birdwatching.

It is only about a decade since the microbiome became a thing. Fuzzy boundaried notions collect all kinds of aspirational, utopian fluff, and the microbiome – a paradigmatic concept of the cyber-age – has the capacity to multiply these as quickly as (aerobic) bacteria grow on a Petri dish.

The role of microbiologists is to culture the useful part of these into something that might grow and become valued. The Rowett Institute of Nutrition and Health in Aberdeen has been involved in this research effort and the artists/designers known as The Center for Genomic Gastronomy have been Leverhulme Artists in Residence involved in the dissemination of the stuff.

The most recent publication in their Food Phreaking series of pamphlets, Gut Gardening, reaches for a compromise between populist publicity, sober accounting and dis-illusion. Most writing about the microbiome oscillates between potential and entropy in this way. For example the story which most of us will have heard in some form concerns the microbial base for obesity. This is drawn from a research programme described at length in I Contain Multitudes (Yong 2016) where generations of lab mice have been grown in a sterile environment, gnotobiosis, and are used as receptacles of cultures of microbes from obese or normal humans. Fat gut microbes produced fat mice, which in turn produced the headlines about gut microflora creating obesity, which in turn received the ‘Overselling the Microbiome Award’, which has at least 38 former winners for extrapolations from interesting test results (others including cures for IBD, diabetes and mental illness, as well as jeremiads about the harm of antibiotics).

This particular replication keeps happening because the scientists had to move beyond the simple correlation of one thing with another, and see if there were links which might be predictable or causal. This has proved much more complicated – in the case of our mouse, food, genetics and the developmental stage all matter. The gut microbiome, when studied closely, stopped being one thing and became many.


To improve the chance of establishing causality in the lab, anaerobic chamber cultures of the various bacterial species are grown in separate wells. They are mixed by a robot into different recipes, which are then transplanted into the gnotobiotic mice. The conclusions drawn from extensive trials are that 11 bacterial species are involved in some way in promoting obesity (in mice, and perhaps humans) and two other species seem to inhibit. But only if certain other factors apply, and only, so far, under controlled conditions.
Meanwhile in the outside, more chaotic world (what the scientists I trained with used to call ‘the filed’, with heavily inverted commas) the Human Microbiome Project, collecting submitted poo samples, has established that there is no such thing as a typical US volunteer gut community. Nicola Twilley, blogger and gastrophile, writes in Gut Gardening,

‘It now seems our gut microbiome is not a single organ,that can function well or badly. Instead it is a series of negotiations and trade offs, in which distinctions between good and bad have been increasingly difficult to extract from the white noise generated by up to a thousand different microbial spp, all interacting with each other in ways that we mostly don’t yet understand.’

The Scottish biologist D’Arcy Thomson’s 80 year old view that ‘we have come to the edge of a world of which we have no experience and where all our preconceptions must be recast’ (1992) still seems apt.


Dr Wendy Russell, lead editor of Gut Gardening and a Senior Research Fellow at the Rowett, acknowledges that research into the microbiome creates a new set of challenges to scientific method (isolation, refinement, replication). In short the basic tools of instrumentalism are not effective in explaining or predicting the functions of microbial ecology. New forms of research which can deal with complexity might involve technologies like the anaerobic machine, but also strands of maths which can assess the relative contributions of parts of systems that can’t effectively be separated. And beyond those, new ways of thinking about causation.

It is not that utility can’t be found. One of the contributions to Gut Gardening is the story of Lactobacillus rhamnosus. Following observations that l. rhamnosus proliferate in a healthy vagina, Gregor Reid’s team cultured the GR-1 strain of this, and found it was linked to defence against Urinary Tract Infections and other types of immunity. Preparation and trials in yoghurt and capsule forms and have been developed commercially (sidestepping the restrictions involved in creating conventional medical products) and as part of a development project producing probiotic yoghurt in Tanzania. The efficacy comes from accepting the rough pragmatic tools of correlation and amelioration, without the poesis of understanding the nature of the thing and the process.

However there is another form of usefulness in new knowledge. The art work in Gut Gardening acknowledges this in background chaotic patterns of tangled and unfamiliar overlapping shapes with occasional highlighted (and even dayglo) squiggles. The publication gently lays down the challenge to its contributors to imagine and speculate.
One of the interesting speculations of the Center for PostNatural History is that the human gut flora, like our pets, will ‘reflect human desires and anxieties which influence them’. It’s a good trope, although so far most of us have been interested in the influences pulling the other way – that our bodies, lifestyles and consciousness are subtly directed by the growth and byproducts of our microbial partners/symbionts, through biofeedback loops between the flora, hormones, organ development and appetites.

Post natural and post human are spirallingly anthropocene ways of thinking about the world. For those of us whose interest in cultures is not mainly probiotic this is the great re-envisaging potential of the microbiome.


Jamie Lorimer’s jovial piece (2016), Gut Buddies about the related interest in re-infestation of humans with hookworms demonstrates the continual crossover between enthusiasts, scientists and entrepreneurs (sometimes the same figure in different guises) opening up an area of interaction with biota (or domestication if you will). What was once vermin is now a product or a pet. We should know that this happens – this replicates our human history. Are there new possibilities for envisaging being raised by the way we have to understand the microbiome..? Moulders and shapers need to understand things as material – as something with predictable usefulness. But time and again with the microbiome, there are ways in which our methodologies fails us. We retreat to scratch our head. The ways we come to understand the microbiome will have to challenge scientific paradigms too.

In a way which is less dystopian than the control metaphors of the yellow science press we are indeed being subtly influenced by our microbes.


Lorimer, Jamie (2016) Gut Buddies – Multispecies Studies and the Microbiome, Environmental Humanities, 8.1

Yong, Ed ( 2016) I Contain Multitudes – The Microbes Within us and a Grander view of Life.  New York: Ecco Press.

Wentworth-Thompson, D’Arcy (1992) – On Growth and Form ( abridged ed). CUP.


About EcoArtScotland:

ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.

It has been established by Chris Fremantle, producer and research associate with On The Edge ResearchGray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.

Go to EcoArtScotland

Biomorphic Shapes and Mutations

This post comes from the Artists and Climate Change Blog

Mutation, 100 x 80 x 65. Colored wrapping paper and recycled materials.

I was born in 1974 in Romania to Greek immigrant parents. In 1980, my family was repatriated, and since then I have lived and worked in Serres, Greece. Serres is a small city with a population of around 100,000 inhabitants, located in the northern part of the country, eighty kilometers away from Thessaloniki. I live here with my wife and our two children in a house with a rather large yard, where I also have my studio. I feel fortunate since this arrangement allows me to easily divide my time between my family and my sculpting work. Having my studio next to the place where I live is essential to me. It is part of the normal flow of my life; I grew up in a ceramics studio working with my father, a visual artist himself, who often resorted to the study of nature to get ideas for his ceramic creations. I believe it was then that the idea of observing nature from a different perspective was unconsciously planted in me. It has compelled me to continue to observe the natural environment to this day, as well as the changes that occur in it.

This idea remained with me when I enrolled in the School of Sculpting Art, located on the island of Tinos, to study classical marble sculpture. After my graduation in 2001, I received a scholarship to continue my studies at the University of Athens’ School of Fine Arts. While studying there, I was fortunate to have exceptional and inspiring teachers like Theodoros Papayannis. It was also there, because I had to meet a series of requirements from the faculty, that I begun to consciously recognize nature as a storage of ideas. This marked the beginning of the creation of my first organic forms. I draw elements from the natural environment (plants, cocoons, fruits, living organisms), as well as from industrial materials and residues from our contemporary world. Then, through a variety of optical angles, I observe, conceive, and finally proceed to the fabrication of my “biomorphic forms.” Yet, although my work derives from an observation of the natural world, I try to avoid the representational mode. Instead, I strive to give new substance to my creations; an entirely new identity.Today, my efforts have moved towards expressing my growing unease about the genetic mutations that organisms must undergo in order to adapt to the constant technological changes of modern environments (i.e., genetically modified organisms, genetic pollution, technically mutant products, etc.). It is this feelings that gave rise to the series “Mutations” which, as described by art critics, is concerned with “foreshadowing mutations of organisms in a dystopian post-industrial era.”

Mutation, 80 x 80 x 75. Colored wrapping paper and recycled materials.

Drawing is almost always my starting point. My drawings continue to shape my work. However, when I move to other mediums, I don’t totally subject the work to the guidance of the initial drawings. Instead, I let the particularities of any medium lead me to new forms during the process towards completion.I wish to constantly challenge my audience. In fact, I hope that the people who see my sculptures learn to decode the complexity of the shapes I put before them through their own personal and subjective prisms. I don’t want to compliment viewers – to allow them to be passive. I like to challenge them to reflect on their choices and responsibilities within the living spaces of their actions. As the Greek critic Athina Schina remarks, it is in such a manner that viewers become better able to decode the “micro” or “mega” worlds that surround and besiege them.The works in my new series are made using white clay as the sole material. This natural, white matter, flexible yet also fragile, frees me from any compromises and limitations, thus avoiding the rather ephemeral nature typical of my previous works.

My new series titled “Findings” evolved from the previous series titled “Mutations,” which consists of works created using colored wrapping paper, as well as recycled cheap materials such as plastic, rubber, cartons and newspapers.

Finding (pottery white clay), 72x75x60. 

To conclude this brief self-presentation, I should note that it is not at all easy to pursue my artistic ambitions while living in Greece. We are in the middle of a difficult and grim financial crisis, where anything related to art is considered a luxury, and therefore expendable. However, I should also note that artists in Greece experienced a cultural crisis long before the advent of the economic one. I feel that new artists need to be freshly motivated. Most artists in Greece are unable to meet their basic living needs through their work alone. People interested in buying artworks are fewer and fewer and as a result, the number of galleries and art houses is dramatically dwindling.To many, it may sound strange that in such a discouraging socio-cultural and economic context, there are still people who talk about and value artistic creativity. Yet I make a concerted effort to remain optimistic, and hope that this plight will not prove detrimental to artistic inspiration in general. It is with such a hope that I prepare for a new exhibition of my recent work. It is going take place at the end of March at the exquisite ALMA Contemporary Art Gallery in Athens.


Aris Katsilakis teaches Plastic and Pottery in the Department of Interior Architecture, Interior Design and Drawing Objects in the Technological Educational Institution of Serres, Greece. His work has been shown in some of the most influential galleries: He has presented solo exhibitions at Kalos & Klio Showroom (Thessaloniki), Kaplanon 5 (Athens), and House Papavasileiou (Serres), and participated in numerous group exhibitions at ALMA Contemporary Art Gallery, Kalos & Klio Showroom, Baton 7, Gallery Zoumboulakis, Gallery Myro, Kaplanon, House Shina, 8th Festival of Ancient Amphipolis, Municipal Gallery of Kallithea “Lambrakis,” 12th International Month of Photography, 11th International Month of Photography, and Biennale Internazionale Vicenza.

About Artists and Climate Change:

Artists and Climate Change is a blog that tracks artistic responses from all disciplines to the problem of climate change. It is both a study about what is being done, and a resource for anyone interested in the subject. Art has the power to reframe the conversation about our environmental crisis so it is inclusive, constructive, and conducive to action. Art can, and should, shape our values and behavior so we are better equipped to face the formidable challenge in front of us.

Go to the Artists and Climate Change Blog

Event: Nuclear Art and Archives

This post comes to you from EcoArtScotland

DCA in partnership with Visual Research Centre, University of Dundee, and Arts Catalyst.

A day of artists’ films and discussions about nuclear art and archives considering the kinds of knowledge and reflective spaces that contemporary art produces for rethinking the nuclear. As the civil industry starts to consolidate its archives at the new Nuclear Archive in Wick, Scotland, the European debate is focused on records, knowledge and memory of geological storage of high-level radioactive waste. The post-truth nuclear economy raises serious questions about the long-term security of the nuclear programme, and an investigation of contemporary nuclear aesthetics is becoming increasingly urgent. All the events take place within the DCA building which includes the gallery, cinema, Visual Research Centre, and bookshop.

Booking for the Film Programme £6:
The afternoon events are free but booking essential:

Day Schedule

10.30 – 12.30 Perpetual Uncertainty Film Programme, DCA Cinema
12.30 – 1.30 Lunch
1.30 – 4.30 Roundtable on Art and Nuclear Archives, Visual Research Centre
4.30 – 5.00 Time to view Mark Wallinger Exhibition
5.00 – 6.00 Nuclear Culture Source Book launch, DCA Bookshop
6.00 – 7.00 Premiere of Yellow Cake, Gair Dunlop

Nuclear Culture Film Programme

10.30am – 12.30pm DCA Cinema Tickets £6

A programme of artists’ films investigating contemporary nuclear concerns: Susan Schuppli investigates the remote sensing of radioactive isotopes in ‘Trace Evidence’ (54’); Lise Autogena & Joshua Portway’s film ‘Kuannersuit; Kvanefjeld’ explores the global politics of uranium mining and landrights in Greenland (30’); Karen Kramer’s ‘The Eye that Articulates Belongs on Land’ (23’) explores the post-Fukushima landscape; Nick Crowe & Ian Rawlinson’s film ‘Courageous’ captures the body of a British nuclear submarine (7.20’), whilst Andy Weir’s ‘Plureal Deal’ speculates on the deep time of the nuclear cycle and its waste products (8’).

Roundtable on Nuclear Art and Archives

1.30pm – 4.30pm Visual Research Center, Dundee Contemporary Arts.

The Nuclear and Caithness Archive at Wick will be home to the archives of the entire UK civil nuclear industry as well as the historical archives of the county of Caithness. It is designed to hold an estimated 20 km of records for generations to come. But what are the time scales of the nuclear? How do artists deal with questions of radioactive deep time? This event aims to rethink how the nuclear archive is embedded in complex forms of materials, culture, architecture and landscape. Presentations by: Ele Carpenter, Curator; Garance Warburton, Community Engagement Officer, Nucleus: Nuclear and Caithness Archive; artist Gair Dunlop; artist and co-ordinator of Power in the Land, Helen Grove-White.

1.30 – 1.45 Welcome Beth Bate and Sarah Cook
1.45 – 3.00 Presentations
3.00 – 3.15 Tea break
3.15 – 4.30 Roundtable Discussion

5-6pm The Nuclear Culture Source Book Launch, DCA Bookshop
Edited by Ele Carpenter, Black Dog Publishing, Bildmuseet and Arts Catalyst, 2016.

Yellowcake, A film by Gair Dunlop
6pm Visual Research Centre, DCA. Premiere
The rise and fall of the UK nuclear fission research programme, seen through its sites, archives, memories and remains. (63.26”)

About EcoArtScotland:

ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.

It has been established by Chris Fremantle, producer and research associate with On The Edge ResearchGray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.

Go to EcoArtScotland

The Science of Light

This post comes from the Artists and Climate Change Blog

In the third instalment of her “Renewable Energy Artworks” monthly series, Artists & Climate Change writer Joan Sullivan interviews internationally acclaimed solar stained glass artist Sarah Hall in Toronto, Ontario. 

Before introducing Sarah Hall’s beautiful and important work, I feel compelled to describe briefly the rapidly evolving energy landscape within which she creates. For those who have neither the time nor inclination to read about distributed energy, feel free to skip the first three paragraphs.

Sarah Hall, solar, PV, stained glass, Toronto, Harbourfront, Enwave

Micro-generation is the production of electricity on a small scale – typically using renewable energy sources such as solar and wind – to help homeowners, schools, commercial and industrial buildings, religious centres, and municipalities offset all or a portion of their electricity needs. Electricity produced, consumed, and/or stored on-site is called “distributed” since it exists at the distribution edge of the interface between consumers and conventional transmission grids that carry electricity from distant centralized coal-fired, gas, nuclear, or hydroelectric power plants.

We have all seen rooftop photovoltaic (PV) solar installations; they are the most prominent example of distributed energy generation today.

In addition to being distributed, this energy is highly disruptive: consumer-centric distributed renewable energy generation will ultimately replace our aging, profit-centric, monopolistic, centralized power stations. Author and serial entrepreneur Tony Saba has famously predicted that the centralized system of fossil fuel-based energy generation will be obsolete by 2030. Just 13 years from now. In our lifetimes. This is huge.

Sarah Hall, solar, PV, stained glass, window

So what does this have to do with artists, you may ask?

Historically, artists have embraced rapid change during times of great upheaval and disruption, such as the birth of the modern art movement at the beginning of the 20th century that portended the chaos of two world wars.

In the 21st century, climate change has already become the rallying cry for artists across the globe. If Tony Saba’s predictions come true, I believe artists will also draw inspiration from the massively disruptive energy revolution — currently underway — as we witness the emergence of virtual power stations that will blur the line between energy producers and energy consumers.

Canadian stained glass artist Sarah Hall is already doing just that. In fact, she has spent the last 10 years of her 40-year career pioneering the fusion of color, light, and photovoltaic technology for architectural glass.

Sarah Hall, solar, stained glass, PV, Toronto, Harbourfront

Hall’s large solar glass installations include: “Waterglass” at Enwave Theatre at Toronto’s Harbourfront Centre (above); “Lux Gloria” at the Cathedral of the Holy Family in Saskatoon (below); “Lux Nova” at the University of British Colombia; “Leaves of Light” for the Life Sciences Building at York University in Toronto; and “The Science of Light” at Grass Valley Elementary School in Washington State, USA.

In a 2015 interview with Michael Todd, editor of The York University Magazine, Hall describes the evolution of her solar art glass installations:

“As a glass artist working in architectural installations, the idea to bring solar into my work came from a few sources which all converged within a couple of years. First, my mentor, Professor Ursula Franklin at Massey College, University of Toronto, encouraged me to explore connections to solar. Her physics colleagues in Santa Barbara had created a wonderful video “Power of the Sun” which she gave me. Second, I had seen many beautiful buildings in Europe creating in a technique called Building Integrated Photovoltaic (BIPV) and was convinced it was a great direction for solar. Third, I made connections in Canada, the US and Europe with architects and engineers working in the field of BIPV. Fourth, the studio in Germany where my work is produced made a prototype of art glass with embedded solar cells and encouraged me to create solar work. Fifth, and of great importance, was that I received a Chalmers Arts Fellowship from the Ontario Arts Council which gave me the time and resources to experiment with the integration of solar collection into my art glass projects. I am interested in using solar primarily as an environmental advocacy/educational tool.”

Hall further explained her multidisciplinary collaborative process to me:

“My projects are essentially collaborations with solar engineers. These projects have brought a rigour to my process of designing art glass because they require me to incorporate rigid graphic elements. There is a very big learning curve for everyone involved – and you need the team of engineers and electricians from the site to be on board with work they have never done before. This part of it can be very hard going and so I am very pleased with bringing many people into a new idea of solar – that it can both look beautiful and carry meaning.  The windows at the Cathedral in Saskatoon are important for me as a world first – a Cathedral whose stained glass windows are connected to the grid that results in an energy rebate for the Cathedral.”

Sarah Hall, solar, stained glass, PV

Each of Sarah Hall’s solar glass installations is unique, beautiful and wondrous. Each converts solar energy into electricity, but the end use of that electricity varies according to the intended design of the architectural glass. For example, two of her solar installations – “Lux Nova” and “Leaves of Light” (below) – were designed to absorb and store sunlight into the structure by day and then, when darkness falls, use this stored electricity to illuminate/backlight the glass. The result is a stunning sculpture that glows in the dark.

Sarah Hall, solar, PV, stained glass, York, Leaves of Light, gingko

In contrast, Hall’s “Waterglass” and “Lux Gloria” installations were designed specifically to produce clean electricity that feeds directly into their respective buildings’ energy systems.

I am particularly fond of Hall’s “Science of Light” installation at Grassy Valley Elementary School, which transforms the school’s main stairwell into an ever-changing flood of color and light, depending upon the time of day and season. This stairwell must be a delight for the students running up and down the stairs to their classes.

Screen Shot 2017-03-16 at 11.27.56 AM

This “teaching” window was one element in a larger project designed by DOWA Portland architects Barry Deister and Keith Johnson to showcase a variety of green technologies at an elementary school in northwestern United States: a roof garden, wind turbines, a community garden, and Hall’s solar art glass. A lovely sitting area was created at the stairwell’s main landing to encourage students, parents, and staff to pause, contemplate and enjoy the transformative color and light show.

Sarah Hall, solar, PV, school, stained glass

But what excites me most about this project is that Sarah designed it specifically “to delight, to teach, and to inspire.” The innovative use of solar cells embedded into the windows “offers students an ongoing lesson in science, ecology, and the positive use of technology.” How I wish I had gone to a school like this! I am sure that Hall’s magnificent teaching window will inspire many of these young students to study STEAM (science, technology, engineering, art, math) in order to learn to collaborate across disciplines – as Sarah Hall is doing – to design and build our post-carbon future.

Here is a short video on Hall’s solar glass for art and architecture:

Addendum: In summer 2017, two students from the Glass Department at Sheridan College, Sarah Hall’s alma mater, will begin the process of curating the world’s first “Glass Library.” Under master Koen Vanderstukken, this library will curate hundreds of Hall’s glass samples produced over her career in a multitude of techniques and materials, including solar. According to Hall: “I am delighted with this project; there is nothing like it, not even at Corning Museum of Glass. Artists are inspired, energized and intrigued by what they see and touch – they will immediately think of how to do it differently or better.”

All photos courtesy of Sarah Hall Studio.

Follow Joan Sullivan on Twitter @CleanNergyPhoto

About Artists and Climate Change:

Artists and Climate Change is a blog that tracks artistic responses from all disciplines to the problem of climate change. It is both a study about what is being done, and a resource for anyone interested in the subject. Art has the power to reframe the conversation about our environmental crisis so it is inclusive, constructive, and conducive to action. Art can, and should, shape our values and behavior so we are better equipped to face the formidable challenge in front of us.

Go to the Artists and Climate Change Blog

Last Call: The Guapamacátaro Center Residency in Art and Ecology

The Guapamacátaro Center

for Art and Ecologyis a site-based and community-oriented initiative where artists from different disciplines, scientists, educators and activists converge to foster culture, collaboration and sustainable development.

M I C H O A C A N   / /   M E X I C O


Our Interdisciplinary Residency in Art and Ecology Program has been around for 10 years, granting space and production support for people who are doing innovative work worldwide, across the arts and sciences. During their stay (3 weeks), participants use the hacienda grounds as a laboratory for the creative process and engaging with the local community. They are free to work whenever desired in the provided studios and anywhere in the property. Experimentation is encouraged as is discourse and collaboration.


* Open to professionals from all countries, cultural backgrounds and aesthetics.
* Language requirements: BOTH English and Spanish (at least beginner level).
* Up to 10 people per session are selected from a mix of the following disciplines:

  • Performing Arts (Music, Dance, Performance, Theater, Puppetry, etc)
  • Visual Arts (Painting, Drawing, Mixed-Media, Photography, Film/Video, etc)
  • Sculpture and Installation
  • Design and Architecture
  • Humanities and Social Sciences (Anthropology, Philosophy, Writing, etc)
  • Natural Sciences (Ecology, Hydrology, Biology, Geology, etc)

  • LIVE/WORK SPACE: Single or double occupancy bedrooms and studios, plus common areas at the hacienda, at NO COST (a $2,000 USD value per person).
  • PRODUCTION SUPPORT to realize one or more projects while in residency.
  • PUBLIC EXHIBITION at the Open House event on the last week of the residency.
  • DIGITAL CATALOG showcasing each participant’s work, with a review written by a guest curator or writer.
  • CONNECTIONS with Mexico’s cultural and academic presenters.
  • LIVING EXPENSES: All utilities, cleaning services, drinking water and three meals per day (self-serve breakfast, prepared lunch and dinner) at NET COST: $750 USD for the 3 weeks ($15,000 MX peso / € 700 Euro approximately).
  • TRANSPORTATION: We do not cover transportation expenses, but can assist you in pursuing additional funding with other sources, to cover such expenses.