Sample layout

This is a layout of a bunch of the work I have done. Putting these together suggest that I could possibly use a range of techniques out the window. The fly is out there but could stay too. I have other imagery like that I could include.

Feedback was good for the new prints but the mix was also ok. Martin started by saying the coherence of the wine glass was good but then moved on to also saying he liked the variation. I’m attracted to the variation. The theme is the things that surround me whilst I’m looking out the window at the world in this covid time. Or could be more specific, looking out at the world through the lens of a wine glass literally. So I’m sure the wine glass would resonate with lots of people. I’m going to do more work printing and then decide which is working for me for my final nine patch. I’ll do more wine glasses too as well as the photogram ones. If nothing else I’ll end up with lots of fabric for future works.

I may be able to get more variation within the wine glass lens series. I’m working on colour contrast rather than tonal contrast. So maybe I should ditch trying to get colours from the actual photo and simply pick one colour from the image and use its complementary for the second colour. That is effectively what has happened in the top left and that one works the best. I also need to be a bit careful about overexposing the first colour because the fabric will only take so much dye and not develop further colour over the top if I push the first exposure to its limit.

It’s meant to reference windows in a grid.

Single imagery

After hearing Matt’s presentation last week I was attracted to the idea of trying to produce my imagery of windows through the lens of a wine glass in a single image. I took a few photos of through the bottom of glasses and have printed up three. There is a lot of problems with them and if I include the source photos it will highlight the fact that the fabric prints are very soft and blurry in contrast so I won’t put them up here at this stage. I don’t want to confuse evaluation of the final prints.

I’d probably like to go with this because I think it will gel nicely as a whole work and less obviously contrived but more ambiguous. The two colours also seem to work better when I am using the same print only inverted.

Not sure about the wood strips. They might not serve to highlight the print as well as a solid dark colour would. Possibly plain black sashings would be better.

Adam Fuss: Photograms

This information is from an exhibition brochure from 1992.

References:

Tannebaum B (Curator and writer of text in the brochure) 1992, Adam Fuss: Photograms, Akron Art Museum, Ohio

Image references – Robert Miller Gallery, New York

Brochure design Bruce Morrill

Content:

Christian Schad used photograms in 1918 for art around objects – need to look him up.

“Photogram is a conveyor of literal fact” but then author then asserts that Adam Fuss has gone beyond that.

Adam Fuss has created the photograms in this exhibition by hanging a light, swinging in a circle over and using coloured filter swinging over coloured paper.

A little bit similar to how I was thinking of creating a wind generated dyeing machine for sculpture and possibly to use. But I could also use light to draw. I would need something that slowly unveiled the work to the light rather than slowly exposing, or I could slowly expose with a uv torch I guess but slow exposing would take a lot of imagination to set up a way of moving the torch.

The photograms are large and evoke a sense of the sublime, colour and suggestion of the universe and orbits. Tannebaum speaks of a sense of mystery, spirituality and references mandalas.

I am using the circle in my painting work but more in its function as a barrier rather than as a spiritual reference, but it will read a bit like a mandala too.

Untitled, 1992 (AF#N92) From back cover of the brochure.

Troy Colby

http://lenscratch.com/2020/09/troy-colby-the-fragility-of-fatherhood/ Viewed 18 September 2018

This photo just came up in my lenscratch email and I find it quite an arresting photo. Thought I’d just do a quick analysis of why.

Colour – black and white suggests memory to me and also highlights the forms, tones and contrast without being influenced by colour.

Blurred – an air of mystery and ambuigity. Need to look hard to see what you are looking at.

Layered appearance – again helps with the ambuigity but also adds some depth. Originally thought it might be through glass but now I’m thinking a mirror.

Watery/Steam appearance – suggests a bathroom, an intimate space so adds to the intense personal feel of the photo.

Line – horizontal through the middle which highlights the boy and is also reflected in the line of steam. It suggests that the boy has wiped this at his height.

An annoying slight discomfort from the contrast of a naked child and clothed adult. Unfortunately this is probably more a sign of the times and I think this takes away from the family intimacy of the photo, where we are told this is a father and his son. Can’t avoid it now which I think is a shame.

Group Crit Photography

Had the group crit today and it went quite well. Very interesting seeing people’s work.

Martin liked the delicacy and ambiguity of the pinhole printed direct on to fabric.

I could probably bring it up and redo pinhole to make delicate raw silk photos like this and maybe I will try.

I prefer this print which is done with a transparency on cotton sateen. I even think that the way the solarfast was applied adds a distress to the image.

Martin liked the juxtaposition of these two images. He felt like the above image gave some context to the lower image. I don’t want to just use digital imagery though even though it is a digital submission. So he suggested maybe printing the top one on fabric too. I won’t get the rich black though. It would be good in cyanotype which is high contrast. I’ll try that first. I think I’ll use the overlays as my final work but combine it with positives of the overlay.

Fly on the left is a cyanotype negative and then an avocado solar fast positive followed by bleaching with washing powder (overdone) and then reestablished image with tea bags. I’m not sure why the photos are not as vivid as the original photo. They changed when I moved them on to a canvas to arrange as two. Not sure why. PS said something about photos being a different depth?

Overlay photos and photograms

Used these two photos inverted and then printed individually on fabric with solarfast.

Need to start assembling a powerpoint to upload for my presentation next week.

Will show pinholes, these photogram combos and I’m doing some sunlight on photopaper photograms. Not sure what that is called, maybe lumigraphs or something like that. As the only person who reads my blog Carolyn maybe you know what I’m talking about – the year long pinhole photo done on paper in a tin that they didn’t develop but gave a sort of pinky blue photo of the movement of the sun that then needs to be scanned to preserve.

Lomography-Justin Quinnell-that’s who I was thinking of.

Solargraphy he seems to call it

firstimpressions

{Contemporary Australian Photograms}

Reference:

National Gallery of Victoria 2003, First Impressions: Contemporary Australian Photograms, Brochure from an exhibition of the above name, Council of Trustees of the National Gallery of Victoria, Melbourne

This exhibition is made up of works from contemporary photogram artists.

Interesting the brochure states that they use photograms because as a medium it most suits the creative ideas the artists are trying to convey. So rather than using photograms because they like the look of them, they are using photograms because they best suit the works. Have to think about that because I use solarfast mostly because of process related concerns – the ability to cleanly get an image on to fabric – but perhaps you could say I use fabric and quilts as my medium because of the ideas of comfort and security in a hostile world. They are both more emotive and also more accessible than paint or photography. Something to keep in mind when I am writing about my work.

Also something that has come out of “Why We Quilt” a bit – The effectiveness of quilts as an art medium to convey emotion and meaning. To go beyond the craft. Perhaps I can somehow get a question or an exploration for honours out of this. It’s so hard to know what will work. (relevant to honours)

Some artists represented in the exhibition:

Ruth Maddison (relevant to painting)

Ruth Maddison.jpg

https://www.ngv.vic.gov.au/explore/collection/work/70403/       <Viewed 1 September 2020>

I hadn’t seen this before I did my face photograms but this was the type of thing I envisioned for my self portrait initially. Turned out to be difficult to achieve and certainly not on a 8 x 10 piece of paper. I wonder how many goes she had to achieve this clarity and exposure that also has a third grey tone. That comes from having her face off the paper with the points of contact being completely white and then light getting around the object to create grey. I initially tried to do this in the sun but it simply takes too long to be still on wet solarfast to create this . I did have some success a couple of years ago with cyanotype and I did my whole body and printed on both sides. Then I threw it in the washing machine and bleached the lot inadvertently. Still it was an emotive image that I could return to. Not now though because I have made my decision for the self portrait on this occasion.

Ruth Madison does work about the everyday and homely relatable portraits. Accessible and ordinary but ubiquitous in most people’s lives.

 

 

(relevant to photography)

Just had an idea how I might be able to present my idea of windows and foreground for my photography series. Perhaps I could do some photograms of objects in the darkroom and then do a two layered print with solarfast of the photogram and a photo of the view through the window only visible in the white areas of the photogram. Maybe use dense cyanotype for the photogram so I get a good white and then put solarfast in the white area and print the view. I’m not sure that the bleaching effect of solarfast on cyanotype is very strong but it can be overcome with the use of tea if necessary to return it to a dark colour. Or I could photoshop the imagery together first and just use solarfast or cyanotype.

The outside world viewed through the lens of a wine glass, coke bottle, washing powder box, nutribullet, iron, vacuum hose, cushion, hand sanitiser bottle, disinfectant can, hand weight, needs to be something that is smaller than 8 x 10. Could look through my window pictures and see what is in the foreground. There was a washer on one windowsill I know. And my little soft toys, hanging beads or wind chime, Curtains I took down. Can do a small photogram and enlarge if necessary.

Penelope Davis (relevant to sculpture)

Penelope Davis

<https://www.penelopedavis.com.au/#/penumbra/>       Viewed 1 September 2020

From an exhibition called Penumbra. A penumbra is the partially shaded area around an object. It’s a great word.  Penelope makes objects by casting using silicone and resin. Then she exposes them to create this type of photograph. I have been thinking about using my sculpture in this way to create imagery using solarfast.

The combination of soft and hard edges created in photograms of 3D objects gives an ethereal presence to the object that is hard to achieve in other ways.

Sculpture shadow.jpg

This is one that I have already done using my suspended toilet roll sculpture. Lots of problems with this but in proof of concept. Would work better to do a photogram on photo paper so it can be scanned and contrast increased to get a higher contrast print.

 

Pinhole photos

Week six lecture was about war photography and a discussion about truth in photography. We looked at Frank Hurley’s composite photo and one of his non composite ones and discussed. A lot of people seemed quite determined that truth was necessary making the composite photo a worse one. I think that of the two photos the non composite photo was a gentler more emotive photo, but I’m not sure that this was because of its supposed ‘truthfulness’. I think it was just the composition and content of the photo ,and the fact that there was a slightly unreal sense to the other photo – not because it was untrue, because it was not – all the photos were real and somewhere that would have happened- but because of the manual composition. Nowadays a photo could be created in photoshop with completely correct size and perspective and it would lose that unreal sense. But also the content made it a less interesting photo to me, but again not because it was not truth.

Interestingly there was talk of the uncanny which I hadn’t really heard of before. Somewhere between real and surreal. Mentioned in painting too.

Pinhole photos taken around the house looking from inside to outside.

 

kitchen northmusic room southtable eastTv roomtablecouchkitchen sinkFront doorMusic room west

Lots of issues with exposure. A lot were very over exposed and likely to only need about five to twenty mins looking out the window but a lot of variation. I have edited these in photoshop and I was surprised at how much detail I could get out of these but it would be much better to be able to get correct exposure.

I have also tried printing through the photo itself. Cyanotype didn’t work at all after a few hours so I did a few hours of solartype over the top. Hence the strong border.

music room west print.jpg

Detail is lost but I can still make out and I might be able to expose even longer to get better. This was about seven hours close up under four lights.  Also print on smoother fabric might get a sharper print although I quite like the soft fabric. I’m interested in the cyanotype border. Adds a crispness to the image as a whole.