CYANOTYPE
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Cyanotype Series
Works on paper, 2016-present |
My work explores abstract intersections of bioscience and artistic imagery. What is it like inside our bodies? How does an artist consider intricacies and interconnections among living organs, cells, or molecules? How could an exquisite inner body, fragile yet powerful, watery yet strong, mutable yet stable, be portrayed in contemporary mixed media? What types of morphological forms or shapes are common to all humans? These questions guide my exploration and development of two and three dimensional works and continue to inspire my fascination with the invisible aspects of the human body. When I close my eyes, I can envision vague, undulating, spherical lobules, and floating biomorphic formations. Perhaps this comes from my years in the laboratory looking through a microscope. Bioforms are imagined with varying shapes, sizes, and characteristics, i.e., some are aggressive, as if trying to devour particles, others appear inflamed, or excited, and yet others are very quiet, passive, or even spiritual. I imagine infinite morphological variation, dynamism, ephemeral qualities, and the complex nature of the inner self. In contrast to the importance society gives to superficial appearances, I dream of the innermost, invisible, and essential elements of life.
What is a cyanotype and why do I use this medium?
Cyanotype is a camera-less process that uses a chemical emulsion and the sun for exposure (instead of a camera), followed by a processing procedure. It is also known as "sun printing". I was first drawn to this process because its evolution included a scientific framework that references my earlier career in a clinical laboratory. This technique was first discovered by astronomer, Sir John Herschel in 1842, as a method to reproduce notes and diagrams. Later, it was used by Anna Adkins, a British scientist, for botanical and field studies. In my view, the medium allows my photograms to be reminiscent of radiologic images, an inner look at the body, or what is present yet absent through positive and negative spaces. Thus, my artwork is process-driven because I am able to use this medium to produce a variety of effects (as the ground for a traditional sun print, as paint for abstract forms, and in layers over or under other media that absorb or repel the cyanotype). Also, the cyanotype blue colors are my favorites because they hold many interpretations.
The basic process that I use:
What is a cyanotype and why do I use this medium?
Cyanotype is a camera-less process that uses a chemical emulsion and the sun for exposure (instead of a camera), followed by a processing procedure. It is also known as "sun printing". I was first drawn to this process because its evolution included a scientific framework that references my earlier career in a clinical laboratory. This technique was first discovered by astronomer, Sir John Herschel in 1842, as a method to reproduce notes and diagrams. Later, it was used by Anna Adkins, a British scientist, for botanical and field studies. In my view, the medium allows my photograms to be reminiscent of radiologic images, an inner look at the body, or what is present yet absent through positive and negative spaces. Thus, my artwork is process-driven because I am able to use this medium to produce a variety of effects (as the ground for a traditional sun print, as paint for abstract forms, and in layers over or under other media that absorb or repel the cyanotype). Also, the cyanotype blue colors are my favorites because they hold many interpretations.
The basic process that I use:
- A strong Dutch printing paper, or other surface (cloth, panels, etc) is prepared as the base of the artwork.
- In a dark studio, I mix my cyanotype chemicals into a watery emulsion and apply it as the ground (or I paint an image) onto each paper or surface. Each piece is kept in darkness until time for exposure. It takes several days for it to soak into the surface and dry completely.
- Three dimensional objects, sculptures, or organic forms are arranged on each panel and exposed to the sun.
- After exposure, individual panels are processed in a solution of water and hydrogen peroxide. Each panel is unique depending on the amount of direct sunlight, clouds, fog, time of day, or processing variations, so the color intensity and shadowing effects differ.
- Pastel underlays and overlays are used to enhance my compositions (sometimes before applying the cyanotype emulsion).
- This process is spontaneous, fun, and unpredictable, thereby creating images that are mysterious, contemplative, ethereal, and yet oddly familiar.