This ephemeral series from printmaker Jo de Pear focuses on the cyanotype process using the strong UV light of the Caribbean sun on the island of Antigua. Armed with secateurs, she forages the island for a diversity of fauna and flora to adorn her creations such as this beautiful leaf from the Sea Almond tree.
This ephemeral series from printmaker Jo de Pear focuses on the cyanotype process using the strong UV light of the Caribbean sun on the island of Antigua. Armed with secateurs, she forages the island for a diversity of fauna and flora to adorn her creations such as this beautiful leaf from the Sea Almond tree.
This ephemeral series from printmaker, Jo de Pear focuses on the cyanotype process using the strong UV light of the Caribbean sun on the island of Antigua. Armed with secateurs, she forages the island for a diversity of fauna and flora to adorn her creations such as these beautiful palm fronds.
This ephemeral series from printmaker, Jo de Pear focuses on the cyanotype process using the strong UV light of the Caribbean sun on the island of Antigua. Armed with secateurs, she forages the island for a diversity of fauna and flora to adorn her creations such as these beautiful palm fronds.
This ephemeral series from printmaker, Jo de Pear focuses on the cyanotype process using the strong UV light of the Caribbean sun on the island of Antigua. Armed with secateurs, she forages the island for a diversity of fauna and flora to adorn her creations such as these beautiful palm fronds.
This ephemeral series from printmaker, Jo de Pear focuses on the cyanotype process using the strong UV light of the Caribbean sun on the island of Antigua. Armed with secateurs, she forages the island for a diversity of fauna and flora to adorn her creations such as these beautiful palm fronds.
This new collection of handmade cyanotypes from Ellie Tsatsou, focuses on auto-luminescent sources of energy. The series studies the light-sensitivity of her printing surfaces and the depth of her materials, producing results that float across the spectrum of cyan and blue. In partnership with the sun, Ellie Tsatsou brings forth its vigor and grace. Visually, the works explore variations of the circular shape and consequently, the embedded notions of flow and continuity.
This new collection of handmade cyanotypes from Ellie Tsatsou, focuses on auto-luminescent sources of energy. The series studies the light-sensitivity of her printing surfaces and the depth of her materials, producing results that float across the spectrum of cyan and blue. In partnership with the sun, Ellie Tsatsou brings forth its vigor and grace. Visually, the works explore variations of the circular shape and consequently, the embedded notions of flow and continuity.
Part of the Blue Flowers series, Pine branch and Seeds was part of a solar printing project created by Liesl Pfeffer during a residency in rural Australia. Foraged native plants and seeds were used to print silhouettes of these organic materials using cyanotype solar printing.
Part of the Blue Flowers series, Pine branch and Seeds was part of a solar printing project created by Liesl Pfeffer during a residency in rural Australia. Foraged native plants and seeds were used to print silhouettes of these organic materials using cyanotype solar printing.
Part of the Blue Flowers series, Blackberry Branch was part of a solar printing project created by Liesl Pfeffer during a residency in rural Australia. Foraged native plants and seeds were used to print silhouettes of these organic materials using cyanotype solar printing.
Part of the Blue Flowers series, Blackberry Branch was part of a solar printing project created by Liesl Pfeffer during a residency in rural Australia. Foraged native plants and seeds were used to print silhouettes of these organic materials using cyanotype solar printing.
Part of the Blue Flowers series, Branch II was part of a solar printing project created by Liesl Pfeffer during a residency in rural Australia. Foraged native plants and seeds were used to print silhouettes of these organic materials using cyanotype solar printing.
Part of the Blue Flowers series, Branch II was part of a solar printing project created by Liesl Pfeffer during a residency in rural Australia. Foraged native plants and seeds were used to print silhouettes of these organic materials using cyanotype solar printing.
Part of the Blue Flowers series, Branch I was part of a solar printing project created by Liesl Pfeffer during a residency in rural Australia. Foraged native plants and seeds were used to print silhouettes of these organic materials using cyanotype solar printing.
Part of the Blue Flowers series, Branch I was part of a solar printing project created by Liesl Pfeffer during a residency in rural Australia. Foraged native plants and seeds were used to print silhouettes of these organic materials using cyanotype solar printing.
Part of Liesl Pfeffer’s ongoing project, To See The Moon Fall From The Sky (2016-) Pfeffer has a passion for exploring time and indexicality (the physical relationship between the object photographed and its resulting image). The works in this series depict celestial objects such as stars, moons and planets. Pfeffer uses light from the Sun in the exposure of cyanotype photograms using drawings and sunlight to cast shadows on light-sensitive paper, so that the photograph records a trace—or index—of its subject.
Part of Liesl Pfeffer’s ongoing project, To See The Moon Fall From The Sky (2016-) Pfeffer has a passion for exploring time and indexicality (the physical relationship between the object photographed and its resulting image). The works in this series depict celestial objects such as stars, moons and planets. Pfeffer uses light from the Sun in the exposure of cyanotype photograms using drawings and sunlight to cast shadows on light-sensitive paper, so that the photograph records a trace—or index—of its subject.
Part of Liesl Pfeffer’s ongoing project, To See The Moon Fall From The Sky (2016-) Pfeffer has a passion for exploring time and indexicality (the physical relationship between the object photographed and its resulting image). The works in this series depict celestial objects such as stars, moons and planets. Pfeffer uses light from the Sun in the exposure of cyanotype photograms using drawings and sunlight to cast shadows on light-sensitive paper, so that the photograph records a trace—or index—of its subject.
Part of Liesl Pfeffer’s ongoing project, To See The Moon Fall From The Sky (2016-) Pfeffer has a passion for exploring time and indexicality (the physical relationship between the object photographed and its resulting image). The works in this series depict celestial objects such as stars, moons and planets. Pfeffer uses light from the Sun in the exposure of cyanotype photograms using drawings and sunlight to cast shadows on light-sensitive paper, so that the photograph records a trace—or index—of its subject.
Part of Liesl Pfeffer’s ongoing project, To See The Moon Fall From The Sky (2016-) Pfeffer has a passion for exploring time and indexicality (the physical relationship between the object photographed and its resulting image). The works in this series depict celestial objects such as stars, moons and planets. Pfeffer uses light from the Sun in the exposure of cyanotype photograms using drawings and sunlight to cast shadows on light-sensitive paper, so that the photograph records a trace—or index—of its subject.
Part of Liesl Pfeffer’s ongoing project, To See The Moon Fall From The Sky (2016-) Pfeffer has a passion for exploring time and indexicality (the physical relationship between the object photographed and its resulting image). The works in this series depict celestial objects such as stars, moons and planets. Pfeffer uses light from the Sun in the exposure of cyanotype photograms using drawings and sunlight to cast shadows on light-sensitive paper, so that the photograph records a trace—or index—of its subject.
