S2 W10 group crit
Respite is a gelatin silver print created by exposing a single 35mm close-up capture of a succulent over fifteen 370x370mm sheets of hand-cut gelatin silver paper. The print was designed to display in a grid (five across and three down) which measures approximately 1900x1200mm installed. The process, from tearing paper to developing the prints, took approximately 5–6 hours.
To create the work, I hand tore fifteen sheets, or tiles, from a 127cm x 30 meter roll of gelatin silver paper. The individual sheets were then placed in a grid on the darkroom wall and exposed with a single 35mm negative of a succulent, chosen as it is aesthetically pleasing and for its composition, texture and tone. Next, the sheets were taken into the darkroom, where I hand-painted each individually with the developer (as opposed to tray immersion) to bring out the image. The process, from tearing paper to developing the prints, took approximately 5–6 hours.
The titling of the work reflects the sense of respite I experienced during its making. Notably, the nuance of the deckled edges in the hand-torn gelatin silver paper and the sense of humanity introduced by the brush strokes from developing prints served to eliminate elements of mass production in the materials, the dust and scratches on the negative are also embraced and clearly visible in the final artwork. This is in the context of producing novel results by embracing chaos and disaster to create conceptual photographic works of art that investigate transformation and a visual language of beauty and strength (Jolly et al. 2015, 6).
Moreover, the simplicity of the capture, combined with the hand-torn paper and alternative darkroom processing reflect tensions between objectivity and subjectivity, which in turn reflect my aesthetic responses to lived experience. Further, the chemical process transforms the somewhat ordinary landscape of conventional photography, offering points of entry into the unknown.
As with abstract painting, knowledge of the craft and proficiency in the conventional execution of techniques and strategies – such as composition, exposure settings and the inherent qualities of base materials, including film and substrates – is essential before understanding how to exploit and debase the rules of the medium that reflect intent and purpose to achieve successful results in the final works of art.
Installing Respite for my third Studio 2 group critique
Print information: Zo Damage, Respite, 2022, unique gelatin silver print on hand-cut paper, installation (approx) 1900x1200mm, sheet size (approx) 370x370mm x 15 sheets exposed from a single 35mm negative, and hand-painted individually with developer to bring out the image
Figure 1. Respite, 2022, unique gelatin silver print on hand-cut paper, created from single 35mm exposure with each sheet hand brushed to develop the prints, installation (approx) 1900x1200mm, sheet size (approx) 370x370mm x 15 sheets
Figure 2. Group crit notes, 2022
Figure 3. Group crit notes, 2022
Figure 4. Group crit notes, 2022
Bibliography
Damage, Zo. 2022. “Installing Respite”. Zo Damage. October 28, 2022. YouTube video, 00:38. https://youtu.be/i8BIjO87Jio.
Respite
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