Photovoice and Cyanotype Experiments

I appreciate the intriguing aspect of these pieces, where their true nature remains enigmatic until one examines their titles. Moreover, the richness in the quality of the imagery adds to their allure. The 'Are we but nothing of machines' 2012 serves as a poignant reminder of how individuals can be perceived as having singular purposes, akin to machines, yet possess multifaceted roles within a collective endeavour, much like sports players trained to win while fulfilling specific team functions. This notion intrigues me, prompting a desire to delve deeper into exploring facets of sports often overlooked or under-discussed.

I am particularly drawn to the intimacy of close-up photography and the abstract potential inherent in subjects that may initially repel but upon closer inspection, reveal hidden allure. I aim to explore the concept of visible external injuries versus concealed internal ones, such as muscle fibres or fractures. Through experimentation, including imagery reminiscent of bacon, I seek to evoke visual effects that prompt contemplation. My interest in this direction has led me to investigate cyanotypes.

Nature has long served as a wellspring of inspiration for various art forms and literary works. Indeed, it even catalysed the inception of the first photographically illustrated book.

Cyanotype photography, a method devoid of a camera, involves placing objects on paper coated with iron salts, exposing them to UV light, and washing them with water to produce striking white and Prussian blue images.

The technique traces its roots to Sir John Herschel's experimentation with sun prints, or photograms, in the early stages of photography. Subsequently, in 1842, Herschel pioneered the cyanotype process using paper treated with iron salts, sunlight exposure, and water, yielding the inaugural cyanotype—a white image against a deep blue backdrop.

This method proved superior in terms of simplicity, affordability, and durability compared to earlier silver-based methods. Remarkably, Herschel utilised cyanotype printing to replicate his notes and diagrams, a precursor to modern reproduction techniques.

Fun fact: The term 'blueprint' originates from the utilisation of cyanotypes.

I am captivated by how cyanotypes imbue original images with a softened aesthetic, reminiscent of Mia-Jane Harris's work capturing close-ups of deceased human remains, where beauty transcends morbidity. This technique intrigues me as it not only softens the image but also fosters a sense of curiosity regarding the subject's identity, akin to what I aspire to achieve through my exploration.

 Here below are cyanotypes of the images above.