Hello! Welcome to part 100, yes that's one hundred, of my ongoing experiments with the wet cyanotype process. When I started this journey on the
summer solstice of 2017, I knew I was instantly enamored with the process, but didn't know if it would be sustainable in the long run.
Happily, my enthusiasm has not waned. I'm a big proponent of delving deep into an idea to see where it leads, and exploring this seemingly simple process has been rewarding. There's lots of different kinds of plants to make prints of, in all kinds of weather conditions, and multiple tweaks that allow me to influence, but not completely control the result. Every outcome is different and I get a thrill each time I rinse out a print.
So here we are with batch 100 that I made last fall. I started with calla leaves on cotton sateen, red mulberry leaves on sateen, and two ferns on mineral paper. The above photos are how they looked before exposure.
This set of photos are the prints after exposure but before rinse out. These are very ephemeral-you can't leave them in this state- so I like to record them. The mineral print images in particular always change dramatically.
Here are the finished prints. Each one is different, each one evokes a different type of emotional response, and each one is completely unique and impossible to recreate.
The panels on cloth make their way into my art quilts. The prints on mineral paper I create just for the thrill of it, and although someday I hope to "do" something with them, for now they exist for their inherent value as things of beauty.
Whether you're new here or have been following along for some time, let me express my sincere appreciation for your company as I travel my path.
Pick your platform to find and follow my content, and as always, thanks for reading.
