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Size: 18 W x 24 H x 0.1 D in
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Photography: Photogram on Paper.
Wet cyanotype with vinegar creates a totally different color combination than the ordinary dry paper cyanotype which normally results in white shapes against a deep blue. The lengthy exposure time causes the color from uncovered blue background area which is drying to migrate to the covered damp area under the leaves in the same way it does in making a helioprint with fabric dye.
Vinegar and soap upon wet cyanotype chemicals react turning it yellowish and creates the mottled painterly effect as well as the olive green background instead of Prussian blue.
Original cyanotype made with living blades of grass. There are no other editions of each print as each image was composed laying the plants by hand and they have long since withered.
A cyanotype is a unique print made using a photographic process from the 1850s in which iron salts on paper react with sunlight resulting in a photogram or sunprint. Sun and water are the developers. Objects must be placed directly onto the chemically treated paper where their shadows or semi transparency create the image.
Each exposure happens in sunlight and the result once the print is washed and developed is a bit magical and hard to fully predict. That element of surprise each and every time is what attracts me to the process. Timing is everything. It’s printmaking without a printing press. It’s photography without a camera. Cyanotypes are like a cross between printmaking and x-rays.
Cyanotypes can be made once the light-sensitive chemicals are dry on the paper, or alternatively, exposed to light while the chemicals are still wet, resulting in a more liquid blurry effect. Objects can be taken away or added during exposure time to create different shades of blue. Other agents can be added to alter the traditional cyan blue image as well.
Unframed. On 140-pound archival acid-free watercolor paper.
Artist featured by Saatchi Art in a collection