Respite is the next iteration of the grid-like print. As with the untitled piece presented for my second crit, Respite was made using traditional (or straight) photography on 35mm film combined with alternative and experimental darkroom processes. I hand tore fifteen 370x370mm sheets from a large roll of gelatin silver (light-sensitive photographic) paper. The individual sheets were then placed in a grid on the wall of the darkroom and exposed with a single 35mm negative. Next, the sheets were taken into the darkroom where I hand-painted each sheet individually with developer to bring out the image (rather than swishing them around in developing trays). The process (from tearing paper to developing the prints) took approximately 5–6 hours.
Figure 1. Respite negative and darkroom notes, 2022
Figure 2. Testing grid and setting up exposure of negative
Figure 3. Standing in the grid indicates scale of artworks
Figure 4. This photo of the gelatin silver paper grid was taken as the image was being exposed
Figure 5. Marking and notching each sheet
Figure 6. Paper curls
Figure 7. Ironing prints ready to install
Figure 8a. Respite, gelatin silver print on hand torn paper, 2022, 1900x1200mm (approx) installation size (370x370mm approx sheet size, 2022
Figure 8b. Respite detail, 2022
Figure 8c. Respite detail, 2022
Figure 8d. Respite detail, 2022