Since completing my 22 series on both normal and anaglypta paper, I have rearranged how my prints were positioned on the wall of my studio space. By matching each pair of prints and placing them right next to each other, I feel I was better able to acknowledge the success of each print in comparison to the other.
It is clear when looking at my prints in this way that the anaglypta paper has played a large part in distorting the original image. I believe this effect works better with some images than others. There are pairings where both prints are as strong as each other, although in some cases it is the anaglypta element which creates a stronger outcome.
I believe overall that the anaglypta prints have greater depth and make for more interesting viewing. Not only do these pieces embody a material which relates back to my childhood, it is also unique to me as an artist in how I have used this material.
I think it is important for me now to properly display these anaglypta prints in photo frames in order to make a direct reference to photography. In a way this questions the format and purpose of photography itself.
Using prints which are distorted and not completely true to the event they illustrate, I think, reflects or even heightens the theory that what photographs tell us about real life is often inaccurate in the first place. It is interesting at this point to consider how my anaglypta prints relate more to how I remember my past than the original photograph from which my print is sourced.
