OCEAN PATTERN THREE
Medium: Camera-less Photographic Painting. Toned cyanotype on rag paper.
Size: 19-3/4” (h) x 15” (w) Date: 2020
OCEAN STRIPES TWO
Medium: Camera-less Photographic Painting. Toned cyanotype, gum bichromate and pencil on rag paper.
Size: 19-3/4” (h) x 15” (w) Date: 2020
OCEAN CLOUD
Medium: Camera-less Photographic Painting. Toned cyanotype on rag paper.
Size: 19-3/4” (h) x 15” (w) Date: 2020
OCEAN PATTERN TWO
Medium: Camera-less Photographic Painting. Toned cyanotype, gum bichromate on rag paper.
Size: 19-3/4” (h) x 15” (w) Date: 2020
OCEAN CLOUD NOCTURNE
Medium: Camera-less Photographic Painting. Toned cyanotype on rag paper.
Size: 19-3/4” (h) x 15” (w) Date: 2020
OCEAN STRIPES ONE
Medium: Camera-less Photographic Painting. Toned cyanotype, ziatype and gum bichromate on rag paper.
Size: 19-3/4” (h) x 15” (w) Date: 2018
OCEAN PATTERN ONE
Medium: Camera-less Photographic Painting. Toned cyanotype and gum bichromate on rag paper.
Size: 19-3/4” (h) x 15” (w) Date: 2018
HEWNOAKES, PINECLAD
Medium: Camera-less Photographic Painting. Toned cyanotype on rag paper.
Size: 15” (h) x 19-3/4” (w) Date: 2018
Camera-less Photographic Painting
My painting and photography practice inform one another bringing about hybrid works that reflect the historical dialogue and influence that has existed between these two mediums since the advent of photography.
In this series of camera-less photographic paintings, I use photochemistry in lieu of traditional paint mediums which forces me to be more primitive in my expression. My mark making is used in place of a negative or object as is the case in a traditional print or photogram. Unlike a Chemigram both light and chemistry are used to form my images. This work runs parallel to the groundswell of camera-less photographers working today and adds to the conversation of one-of-a-kind photographic imagery where all methods are in play.
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