These 8 sheets of paper are all coated with Cyanotype chemistry and have various floras on top of them. Over the span of 28 days, the sun exposes the flowers onto the paper, forming an image over time. Each Cyanotype is covered with a sheet of glass in hopes of trapping the moisture and having the natural material mold and decompose over time, altering both the image and the light sensitive chemistry.
I have used this long duration exposure process several times before, specifically using traditional darkroom paper. This is my first time using Cyanotype chemistry for these exposures; Part A of this exhibition is a trail and error process within my studio practice.
Part B of this exhibition will have the 8 Cyanotype images displayed in their final outcome, regardless of their visual “success” or “failure”. I will also have three long duration photograms being exposed in large wooden floor boxes, exposing onto 40x50 inch paper (for 28 days, from January 20th to February 16th). There will be an opening reception on Saturday, January 26th from 6-9 P.M.
For these large-scale exposures, I will continue the use of flora materials to form the image. These three boxes will consist of 1 sheet of traditional darkroom paper, 1 sheet of paper coated with Cyanotype chemistry and 1 sheet of paper coated as an Anthotype (emulsion made from flowers.)
The large Cyanotype and Anthotype will also be done as a first time experiment, as the traditional darkroom paper will be my 11th exposure made with this process. I have so far only ever created these large-scale exposures during exhibitions (3 in Chicago, 2 in San Antonio, 2 in Budapest and 3 in Quebec City.)
Because I only created this work in the gallery setting, this platform becomes my studio. This project relies on the exhibition space, not only as a physical place for the work to occupy during long durations of time, but also since I consider the viewer an important piece in the making of these images. Every viewer is involved, as the act of looking becomes the act of making.