Language Acquisition: Collages

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The fact that I make images in a darkroom in the 21st century has only heightened my awareness of the potential physicality within the realm of photography. There is no nostalgia in my use of the darkroom, it’s simply the venue in which I choose to make my explorations, as the painter and printmaker do in their respective environments. Neither of them are expected to give up their tools and surrender to Photoshop, simply because it would be a quicker means to an end. Rather, the process of creating imagery is what draws me to make these images; the back and forth conversation I have with the material that isn’t the same dialog I have with a computer screen.

These images are chemigrams, which are made with no negatives, no enlargers, pulling color out of black and white gelatin silver paper by applying resists and then alternating the paper between developer and fixer, and back again. They employ cooking oil, tape, glass, brushes, and numerous other tools. The process is all executed with the lights on. They don’t replicate an image of something else that was captured in the outside world, and they are impossible to replicate themselves.

I rely on the potential inherent to a piece of gelatin silver paper, and my own hand, to make these images. In my career I have always been drawn to mark-making, repetition, calligraphy, ritual, but less drawn to allowing an art medium to take the wheel. I have traditionally made art by calculation, with plan, heavy with objects to photograph that reside in my studio and psyche for months, or years. Given the ever-present “right answers” available on the device in my pocket, it has become rare and beautiful to temporarily exist in a space of unknowing, of curiosity — to take pause and explore a medium in which I am not exerting full control. Similarly, the marks I make are not pre-meditated, but spontaneous, displaying a secret language, and timeframe that I can read by each line, color, value and shape that results from the chemigram process.