Cyanotype

I have been thinking about using the color blue in my Pictorial Whispers project and am starting to explore making Cyanotypes. Previously, I was never interested in them aesthetically, but now, they can help me visualize my emotions and align with my narrative in specific cases.

In the context Pictorial Whispers, the color blue can represent a multitude of concepts and emotions:

Serenity and Calmness: Blue is often associated with tranquil waters and clear skies, evoking a sense of peace and calm. It can mirror the moments of stillness and reflection in my journey through grief.

Depth and Infinity: The vastness of the sky or ocean can be seen as a metaphor for the infinite nature of life and memory, suggesting a connection to something larger and enduring beyond my existence.

Healing and Consolation: Much like the therapeutic qualities attributed to natural bodies of water, blue can symbolize the process of healing and the comfort you seek through your artistic expression.

Sorrow and Melancholy: Historically, blue has also been linked with sadness or melancholy, possibly reflecting the profound sense of loss and longing in the wake of Abby’s passing.

Spirituality and Thoughtfulness: Blue’s association with depth can extend to introspection and spirituality, representing my contemplative state as I navigate my emotions and memories.

Communication and Expression: Known as a color that promotes clear thought and communication, blue might symbolize your desire to express the inexpressible facets of your grief and the connection I shared with Abby.

Incorporating the color blue into my project could enhance its emotional resonance, layering these various interpretations into your visual narrative and offering viewers a deeper insight into your personal experience. I will explore this and see where it goes.

Pictorial Whispers – More Than Art

Each handmade print in the Pictorial Whispers series is a captured echo of love and sorrow, where trees stand as poignant testaments to the memory of my beloved daughter, affectionately known as Peanut.

Through the ethereal embrace of Pictorialism, these stoic beings are transformed into guardians of her legacy, their roots entwined with the depths of my emotions.

This work transcends the realm of visual art; it is a sacred process, a conduit through which I navigate the labyrinth of heartache.

Embracing the 1850s negative process of collodion glass plates, with its inherent imperfections and richness, I have found a profound connection to Abby. The physicality of this medium, with its labor-intensive demands and unique aesthetic, mirrors the intricate complexities of my emotional state.

The complex and constantly evolving chemistry process and the handmade aspect of the workflow all contribute to a deeply personal and expressive narrative. Each image I compose is a stanza of an ongoing dialogue with absence and memory, where the chemical nature of the collodion process adds an almost otherworldly character to the images, blurring the lines between sharp reality and the soft edges of remembrance.

In my handmade photographs, trees are more than mere subjects; they are characters imbued with human emotions, standing as silent witnesses to the internal storm of my grief. They echo my solitude, resonate with my sadness, and yet stand resilient, a reflection of the strength I muster each day.

The dance of light and shadow amidst these arboreal forms is akin to my brushstrokes on this canvas of loss. This interplay becomes my visual language, a means to articulate the indescribable path of mourning and eventual healing. In creating my handmade wet plate collodion negatives and platinum-toned Kallitype contact prints, I find a semblance of peace, a fleeting respite from the relentless grip of emotional pain.

My artistic quest with Pictorial Whispers is to forge an enduring, mystical, and deeply personal collection. In this pursuit, I maintain a profound spiritual bond with Abby, channeling the flux of my emotions—grief, gratitude, and love—into the stillness of the natural world.

Each handmade print is a physical manifestation of my experiences, a testament to the enduring impact of Abby’s presence in my life. Through this process, I hope to offer a visual homage to her memory, crafting expressive artwork that are as singular and special as the moments we shared. Abby’s spirit, her joy, and the name Peanut are forever intertwined with the essence of the trees that I photograph. They are my silent and steadfast companions on a path through the unknown terrain of heartache and recovery.

Cyanotype Process

The cyanotype process, developed in the early 19th century, is a photographic printing method that produces a cyan-blue print. This process, historically significant in the evolution of photography, involves several key steps:

1. Preparation of the Solution: The process begins by mixing two chemicals: ferric ammonium citrate and potassium ferricyanide. These chemicals are separately dissolved in water to create two solutions, which are then combined. The resulting mixture is sensitive to ultraviolet light.
2. Coating the Paper: A sheet of paper, typically high-quality, 100% rag watercolor paper, is evenly coated with this light-sensitive solution. The coating can be done with a brush or by dipping the paper into the solution. The paper is then left to dry in a dark place.
3. Creating the Negative: In traditional cyanotype processes, a photographic negative or objects (in the case of photograms) are placed on the dried, coated paper. If a negative is used, it should be a large format or contact negative, as the process is contact-print only.
4. Exposure to UV Light: The paper, with the negative or objects on top, is then exposed to UV light. This can be done using natural sunlight or a UV lamp. The exposure time varies depending on the intensity of the light and the desired effect but typically ranges from a few minutes to several hours.
5. Developing the Image: After exposure, the paper is washed in water. The areas of the paper that were exposed to light through the negative or around the objects will develop into a deep blue color, while the areas blocked from light will remain white or a light blue.
6. Drying and Finalizing: The print is then left to dry. The final print will be a monochromatic image with varying shades of blue, known as Prussian Blue.

The cyanotype process is unique for its simplicity, low cost, and distinctive blue color. It was historically used for various purposes, including architectural blueprints and botanical prints, before modern photography and printing techniques became prevalent.