My printed artwork begins with the historic cyanotype process, a photographic printing
technique dating to the 1840s. Unlike traditional photography, I create a unique projector system
using various lenses paired with a UV light source. This setup allows me to project negative
images directly onto printmakers paper that I've hand-coated with cyanotype emulsion.
While cyanotypes traditionally produce their characteristic Prussian blue images, I extend the
process through toning. After development, I apply various tannins that react with the residual
iron compounds in the print. This chemical interaction transforms the monochromatic blue into
subtle, alternative hues, creating unique color variations impossible to precisely replicate.
My artwork often refers to the landscape, but I deliberately focus on small, isolated areas of each
negative or photographic source. By extracting these fragments from their original context, I
force an abstract, expressive quality to emerge. The artwork becomes an expressive study in
form, texture, and light rather than direct landscape representations.
The technical aspects of my process deliberately introduce elements of chance and imperfection.
Much of the projected image becomes diffused—either dissolving into fuzzy indistinctness or
disappearing into darkness. This softening of boundaries and selective obscuring creates an
ethereal quality in the final work, inviting viewers to experience landscapes as dreamlike
impressions rather than literal documentation of place.