VIEW IN MY ROOM
Photography, Photogram on Wood
Size: 14 W x 42 H x 1 D in
Ships in a Box
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Showed at the The Other Art Fair
Artist featured in a collection
*Featured in Saatchi Art’s “Indoor Botanicals” collection and “Shades of Blue” collection. These are listed for sale both individually as well as together in a triptych here for a lesser amount. They were all made on the same day in April as part of a spring series. Each of the round prints measures 14 inches in diameter. In my photo, the gaps between them are about 5 inches. The total span from the first to last panel is about 52 inches as shown. One could hang them vertically in a narrow space between windows or diagonally ascending a staircase or side-by-side in a hallway or vertically (as shown) in a deep light well or stairwell. Though these prints mounted on wood resemble aquatint etchings or multiple plate block prints, they are all multiple exposure cyanotypes, technically cameraless photographs. The typical blueprint or sun print is of a stark white silhouette against a solid dark blue background, but I prefer to manipulate the darkening process to achieve various shades of blue. My multi-tone technique is inspired by different kinds of printmaking that I have practiced in the past, especially multi-plate monoprints, block prints and aquatints. It’s all dependent on composition and timing of successive exposures to light. The sides of the round solid wood panels are painted dark blue to match and each panel is ready to hang with a wire attached on the back. The paper used is a heavy 100% acid-free cotton watercolor paper which will not yellow with age. The surface of each is permanently sealed with a transparent, matte layer of acrylic gel medium to protect it against moisture, dust and dirt.
Multi-paneled Photography:Photogram on Wood
Size:14 W x 42 H x 1 D in
Number of Panels:2
Ready to Hang:Not applicable
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
I live in the woods in northern California looking out across the San Francisco Bay towards the hills of Marin, San Francisco and Angel Island. The distant blue hills of my “Faraway Hills” series are ever-present fixtures in my real life. Down below is the bay and above is an endless web of tree branches. Their silhouettes have etched themselves into my memory. My paintings and prints are always nature-inspired and nearly always monochromatic. Having spent a decade as a printmaker making woodcuts, linocuts, etchings, aquatints and monotypes, my mind works in monochrome. I focus on a single color, composition, positive and negative space, pattern, lines and shape. I currently work in two mediums, acrylic painting and cyanotypes, a form of camera-less photography. Cyanotypes are a 19th century form of lensless photography also known as photograms, blueprints and sun prints. They resemble block prints or etchings but use no ink nor printing press. Light “etches” the image on paper I had painted with light-sensitive chemicals. MY NEWEST SERIES OF ABSTRACT CYANOTYPES: My technique is a form of experimental photography, much like the action painters Morris Louis, who poured his veil paintings, or Jackson Pollock who dripped and drizzled his. My abstract cyanotypes are luminous like watercolor paintings but are actually photographs. Each is a multiple-exposure lensless photograph make through deliberate movements of the light-sensitive paper during exposure to light. Different sections of the paper were exposed to light for a longer or shorter time, yielding multiple shades of blue. Each abstract cyanotype is entirely unique. These same lines, shapes and shades of blue cannot be recreated as the exposure of the paper was heavily manipulated by me during each printing. A traditional single-exposure cyanotype yields a white silhouette against a dark blue background. But instead of creating a white image by blocking light with solid objects on the light-sensitive paper, I used water to block the light, creating subtle gradations of darkening blue as I submerged the light-sensitive paper for different carefully timed exposures under water, turning, bending and lifting the paper as needed to shape the lines before they become permanently etched by the sun’s light. My botanical cyanotypes are each unique monotypes as well. They are slow camera-less photographs made outdoors using natural light and no film negative.
Handpicked to show at The Other Art Fair presented by Saatchi Art in Los Angeles
Artist featured by Saatchi Art in a collection
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