Following the Sun

I've been reading interviews and other papers on the work of Uta Barth and connect with her idea of our perception and ways of seeing. I like her earlier work a lot. The latest series with the interiors are interesting and I have to agree I've always liked the idea of the play of light on surrounding surfaces but it's just not as compelling to me.

Here is my version or take on photographing in the style of Uta Barth. We went camping before the kids head off to college. The play of shadows and light on the road was appealing enough that I took out my camera. Then since I had been reading about the space the viewer occupied in relation to the focus point of her work, I started to think how about trying to photograph this "in the style of"

Then it went into thought of how she chose her images that seemed like typical backgrounds for portraits and snapshots.

Which at this point I wanted to try more abstract and something that I am always interested in - water and sky....

And that was really fun. I wonder where this will lead?????

Using the sun to advantage

I have been working on coating different types of paper with cyanotype to see what happens and get a feel for how each takes the process and final wash as well as accepting the image.

I used a paper backing of Kraft  paper and on the front used cut strips of Epson photographic paper. This was a leap in assuming that photographic paper would accept the cyanotype. The image didn't come through but I'm not sure that it's a problem. I was interested in producing both image and non-image this semester.

I had dipped the paper in a tray of cyan so actually both sides were coated. When I put it out in the sun I found both sides produced a latent image. The result of dark and light is perfect and goes back to the idea and importance of light.

When I rinsed it and left it to dry it curled up on itself. I am happy with the lack of flatness. My considerations have been how to present it. I am thinking I would love it have it show both sides but don't know if I want it hung or presented some other way.

I've done a few other papers including Canson Mi-teintes and regular water color paper. The amount of time in sunlight for creating an image is pretty long. Again each paper had differences and difficulties. The Mi-teintes was pretty fragile and tore a bit during the rinse. Again it wasn't a problem for me as it highlighted a weather beaten feel.

I'm also looking at completely deconstructing the idea and image of a photograph. I took a printed photo (printed on rice paper) and ripped it up. Then pasted it on a background that was painted, mono-printed, and had wax drippings. This is a more traditional presentation on a flat surface.

I have no idea how others will view this. I wanted to really question what a photograph is and what we expect to see.

Getting under way

I have been doing a lot of reading. Also trying to get the direction of the work off to a good start. I've been photographing some of the pieces I brought to the last residency and it's tough. They are either so reflective they shine too much or they lose their color quality. Also have one or two other new ones. In looking at Marco Breuer and Liz Deschenes, I've been putting a lot of thought into how to use what they do and add my own personal twist. It's hard!

New Pieces detail and large view:
In this I am making a more sculptural body out of the photograph. That's a curl in the upper edge.

Now on another path.....

Here's a photo transfer I started. I tried the Digital Ground Media for printing digital files but I wasn't getting a very good surface image. So I switched to trying a transfer.

The paper is partially scrubbed off. I'm not liking the loss of detail and emphasis. I think it probably works well with large graphic images.

 Inside looking down.

Now this is interesting. I've started by forming Kraft paper into a sculptural object (vase) and am going to see how well I can apply an image. I think I'll skip the photo transfers on this one.

Semester II

  It takes time to filter through all the information and reactions from the last residency. It was amazing to see the strong group of work from the graduating class.

I am moving towards a more abstract visual style and am also looking at disrupting the idea. expectations, and experience of what is a photograph.

This new piece is printed on velum and then encaustic.

I am interested in finding the best way to present this piece. I am thinking of perhaps having it layered over another sheet of paper. But I may try something more bold.

finish line

Whether we're ready or not, the end of the semester is here. I've posted a few of the recent ones I've printed to bring to the residency. It's been a tremendous battle to get the use of a computer for printing. And having switched to an Epson 4900 for the majority of the printing I have had a lot of technical issues to work out. I didn't get most other papers to use even with applying the Digital Media ground from Golden that is supposed to make all papers usable in the printer. I tried Kraft paper, thin drawing paper, cut photo paper, and water color paper (not the commercially treated kind - this had been used previously for a salt print that didn't work). I've had many tear causing a paper jam. That's what I've spent quite a lot of time working on. Just wanting to print on non-photographic paper. These images I went ahead and printed on regular ol Luster photo paper.

I think I have in mind finishing these up into a series. The square ones I have several other images that I thing will be a separate series. The road one, I am interested in the work of Uta Barth and looking to less identifiable subject or missing subject.
I'm trying to look ahead and figure out what my next step will be heading into the busy 2nd semester.

I've been reminded that I haven't posted in awhile. I've not been sitting idle - it's just my computer quit and I've had to beg, borrow, and steal others to just try to finish papers and print images.

I'll do a very quick recap on some of the prints I've been making. I am actually thinking it will work out into a few different series. One I'm using the working title Lost/Found.

Ok so I now I have to go find the images. I left them on a different computer so I have to track them down and copy them.

Maximum Settings

trees

umbrella 1

canoe

Just when you think you have life under control - Boom! Something happens that makes it all collapse like a house of cards. Or just a little bit of Murphy's Law and you're late for that really important meeting. Or you just do really dumb stuff that you wish wouldn't be seen by anybody anywhere. I had several of those days. All the rain (we had no snow for probably more than a month in March) and the basement walls were leaking. Then I went to go to the artist talk and there was no parking for miles. OK just like a few blocks. And it was really warm out and I had worn a sweater as it was lots colder - Up North.

So I've been working on this solarization and it's pretty hard to get it to make that perfect image because as the chemicals wear out they change how they're working. And I get one really great image I like. I bring it home thinking it's dry and then a few days later go to put them away and it's stuck to another print. I did a quick search and found a hint to freeze it. Well it ended up pulling part of the emulsion off the face of the ONE print I really liked.

Now you say, I've been looking at the Starn twins and can't I make it work? Could be. But nothing jumps out at me. I could rip it up and re-arrange it - but once that's done then it's gone. I mean in pieces. Humpty Dumpty. Not gonna be put back together again. So I'm sort of stalling. I'm letting ideas drift around and hopefully I'll get the courage up to try something. I mean it doesn't look good with the white tear in the middle right now.

Regan with dogs

Regan in field

I've been using this time to do some field work. As you can see. I haven't let the two (2) snow storms that dumped about 8 inches of snow each time, stop me. Unfortunately I've shot two rolls of film that didn't turn out as planned. I am working with a pinhole camer and film, which I've used a pinhold camer and photo paper before and that worked, and the timing and weather has not been as I had hoped. Note to those out there who are interested in pinhole cameras or older non-digital techniques - National Pin Hole Camera Day is tomorrow April 29th!

There have been a few new artists I've enjoyed looking at, thanks to Molly Jergens and Sergio V. I was introduced to Stephanie Jung from Germany. If you haven't seen her work, take a moment and search for it. Really wonderful stuff.