Recent cyanotype experiments on a larger scale (A2). Taking an unassuming detail from the Minories, a sunken gate lock as a focus, as it is a space of a very small scale, how would that situate in relation to the viewer when exhibited? It is slightly larger than life scale, which gives it presence somehow, and the extended dark line created by masking out with paper breaks the photographic illusion. So that seems effective, and the paper crinkled by the process makes it very physical, especially along with the cyanotype chemical mark-making.
The two versions were made to explore refinements in the application of the stroke to see what happens. It seems that Lock 1′ with the more evident stroke takes on the character of an old photograph as a relic aged and crinkled separating it from the wall somewhat, but Lock 2′ might be better ironed flat again to make it appear to extend into the wall, so it could work in a similar way to the chalk drawings. I will have to return to the Minories to mock it up.
After the initial cyanotype experiments I started exploring the mark-making to see what other effects I could get. The first experiment ‘Passage Study’ explores more subtle variations of application that follow the locations of various parts of the image. It got a bit confusing and reduces the contrast between the mark-making of photograph against brush stroke. Perhaps limiting the amount of marks so it does not get too meticulous would be the way to develop this avenue. But as for the other two ‘blobs’ . . . well, what was I thinking of there then? Yes it is possible to create many different types of mark but, well really, this is not going anywhere. Perhaps the abstract nature of the winding stair rails and balustrades could be reworked better, but the curly blobs . . . well take the blueprint back to the drawing board. Pun intended . . . well it is my blog. Face failure with humour, then try again.
Cyanotype experiments are going well. The first test sheet using a negative acetate exposed as expected, though the multi image does not work well with the brush application very effectively. The second test exploits the relationship between painterly application and photographic image using broad brushstrokes to better effect. The reversal using a positive acetate creating a negative final image gives an ephemeral feel to the image, which seems to evoke the idea of memory somewhat. Test some more mark-making later and vary the scale too.
