Alternative Photographic Processes

Unity in Isolation

Murze Magazine Digital Artist Residency: Isolation (April 6-12, 2020)

Unity in Isolation
Unity in Isolation, cyanotype on paper, (25) 6×6″, 6-12 April 2020

 

Requiem for the Salton Sea

Salton Sea, January-February 2020  landscape painting co-created with the natural world as it communicates its experience of the Anthropocene at the Salton Sea where land degradation and receding shoreline due to human activities in its watershed continue.

A shrinking Salton Sea could expose its toxic-coated bottom to wind storms, posing a major air pollution hazard… Salton Sea mud contains enough arsenic and selenium to qualify for disposal in a dump reserved for the most toxic of society’s trash. www.sci.sdsu.edu

Audio recording at the Salton Sea shoreline, January 2020

Salton Sea (cyanotype on paper)
Requiem for the Salton Sea, cyanotype on paper created at shoreline, (50) 6×6″ prints, February 2020. Process: paper exposed to salinity in seawater, algae, bones, toxic dust, waste.

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Salton Sea (cyanotype on silk)
Requiem for the Salton Sea, cyanotype on silk, 72×36″, January 2020. (process: silk draped over exposed tires, wet algae, toxic dust, bones)

 

 

Geyserville Burn

Geyserville Burn landscape painting co-created with the natural world as it communicates its experience of the Anthropocene. Geysers Rd., Geyserville, California – global warming induced wildfire; cyanotype on paper; (5) 16×20″ prints, February 2020.

Background world: At the origin of the wildfire, black matchsticks as tall as trees point skyward, grey ash covers the earth and hey colored chemical fire retardant sticks to everything as far as the eye can see. A bright blue sky defies the lingering fear still present. Several small streams sparkle.

Process: Using paper painted with an eco-friendly UV sensitive coating, I rub it in the chemical fire retardant, ash, and debris, then place it in the small stream; the bright sunlight rains down from above.

 

Dragons

Dragons This ongoing series considers the immediate experience of existence itself. The materials used during the making process are elements of the world both natural and human made; the result, reminiscent of the Cosmos. Variations created through uncontrollable circumstances generated by wind, sunlight, gravity, and water depict forms not drawn from the visible world. It is my intention to create an aesthetic feeling awareness that moves between viewer and artwork.

**Process materials for Dragon I-VIII:   survival garden heirloom seeds, loosely woven mulberry fiber

**Process materials for Dragon IX and X:   single use plastic

Dragon (IX)
Dragon (IX), cyanotype on paper, 30×22, 2019
Dragon (X)
Dragon (X), cyanotype on paper, 30×22, 2019

 

Nascent

Nascent, a series of 1×1″ cyanotype on paper. Process materials: heirloom seeds, handwoven mulberry fiber; 2019

 

Visual Conversations

Visual Conversations (I)
Visual Conversations (I), cyanotype on paper, (5) 7×5″, 2019. Process materials: handknitted mohair forms.
Visual Conversations (II)
Visual Conversations (II), cyanotype on paper, (5) 5×7″, 2019. Process materials: handknitted mohair forms.
Visual Conversations (III)
Visual Conversations (III), cyanotype on paper, (8) 7×5″, 2019. Process materials: handknitted mohair forms, single use plastic, mica flakes.
Can't You Keep Away From Here
Can’t You Keep Away From Here, cyanotype on paper, (2) 20×16″, 2019
Enigma
Enigma, cyanotype on paper, (2) 20×16″, 2019
Interrupted
Interrupted, cyanotype on paper, (2) 20×16″, 2019
Unknown
Unknown, cyanotype on paper, (2) 20×16″, 2019

Unknowable Unknowns