PCP assignment 1

My assignment project for Professional Creative Practice is to write a submission proposal for State Library Victoria Fellowship “Tate Adams Memorial Residency at Baldessin Press & Studio” Fellowship.

With Covid-19 presenting ongoing and fluctuating constraints, including lockdowns, I do not think this is a viable opportunity. I will submit the application, but in all honesty, am no longer interested.

However, I will use the Professional Creative Practice and Themes in Contemporary Creative Practice course structures to assist in writing my PhD application.

Keywords

Professional Creative Practice, PCP, Themes in Contemporary Creative Practice, TCCP, PhD, Application, Writing

Liquid emulsion 1

I’m starting to research making liquid emulsion prints on hard surfaces such as glass and perspex. The chosen substrate must be treated with a base coat of varnish before printing so the image adheres to the surface. I am also researching how to make the finished print weatherproof.

Fotospeed Liquid Emulsion is the preferred product for this project. After trying several different brands of liquid emulsion, Fotospeed produces the best and most consistent results.

The Fotospeed LE spec sheet advises using Griffin Varnish (readily available) on substrates such as glass and ceramics. There are readily available water-based alternatives.

I am looking forward to experimenting with and small pieces of perspex and vinyl and seeing how effective the water-based varnish is as a base-coat and in waterproofing the liquid emulsion prints.

Keywords

Semester 3, Liquid Emulsion, Alternative darkroom printing, Varnish

References

Ekerseleys n.d., ‘Chromacryl Water Based Finishing Varnish’, viewed 9 February 2021, <https://www.eckersleys.com.au/chromacryl-water-based-finishing-varnish>

Eckersley’s n.d., ‘Winsor & Newton General Purpose Varnishes’, viewed 9 February 2021, <https://www.eckersleys.com.au/winsor-newton-general-purpose-varnishes>

Eckersley’s n.d., ‘Winsor & Newton Dammar Varnish’, viewed 9 February 2021, <https://www.eckersleys.com.au/winsor-newton-dammar-varnish>

Fotospeed n.d., ‘LE30 Instructions’, PDF, viewed 9 February 2021, <http://www.fotospeed.com/media/Instructions/LE30%20Instructions%20-%20sgl%20sht.pdf>

Fotospeed n.d., ‘Liquid Emulsion’, viewed 9 February 2021 <https://www.fotospeed.com/LE30-Liquid-Emulsion/products/1288/>

Fotospeed n.d., ‘Liquid Emulsion MSDS’, PDF, viewed 9 February 2021, <https://www.fotospeed.com//media/cms/Darkroom/Liquid%20Photographic%20Emulsion.pdf>

MCC IWD Group Exhibition 2021

Piss baby redux (Damage, Z 2021). Photo © Silvi Glattauer.
470x700mm
Photogravure print on paper from scanned original diptych liquid emulsion print on paper created from 35mm negative.

This photograph is of my daughter.

I asked her what she would like the title to be, to which she replied, "Piss baby".

I added "redux" to reflect the multiple analogue processes (redux of bespoke liquid emulsion darkroom print to photogravure).

The image symbolises the challenges of what it is to be a woman today. The diptych format raises the question (encourages discussion) of what defines womanhood.

Pull life apart.
Put it back together.
Revise.
Redefine.

Be yourself.

Photogravure plate making workstation

Rolling ink on photogravure plate

Pressing ink into photogravure plate

When scanning the original liquid emulsion prints to make the photogravure plate, I left the rough edges in (see below). After making the photogravure proofs, I was not happy with these edges as it felt like too much was going on in the image to the point that it was distracting.

Piss baby proofs (plate 1 and 2).

It is essential to note the many process and subsequent nuances. The original image was photographed on 35mm film, created as a bespoke diptych liquid emulsion darkroom print on Fabriano Rosaspina, scanned, and then recreated as a photogravure.

Although I considered remaking the photogravure plates, which is expensive, I decided to experiment with the existing plates, cutting them down to remove the rough edge, which worked well.

Piss baby redux (Damage, Z 2021). Photo © Silvi Glattauer

Keywords

Photogravure, Liquid emulsion, 35mm, Darkroom, Printmaking, IWD, MCC, Proofs

Reflections: Collective trauma

Meetings are good. Despite this, I am feeling very lost, stuck. In all honesty, I like the concept of exploring the fractured theme but feel I am approaching it in a way that is just not me. Last week I came to a deep understanding of my community of practice, which Alison and I discussed at length.

I have been struggling to work with the topic of "collective trauma". I have a hard enough time managing a voice for myself. Although it would be ignorant to state that unpleasant things have not, and will not happen in my orbit, or that of my friends, I don't believe my life to have been in any state of "trauma". Disruptions? Yes. Pain? Sure. The cliche "It will pass" works on both sides of the fence. Good and bad. It's how I apply and utilise what I have learned from these experiences moving forward that count.

I have a gift. It is the ability to capture that which cannot be seen in a still. Specifically, energy, sound and emotion. The question now is, why am I not utilising all the resources at my disposal to hone and refine this skill set. Energy sound and emotion are primal, in the very core of my bones.

I took collective trauma on board when I shouldn’t have. Perhaps it was because I felt it was expected. Perhaps I feel that I am not “academic” enough. Perhaps I am sitting here feeling sorry for myself. The best part about acknowledging and owning questionable behaviour, particularly when it is toward myself, is stepping through the shit, and moving forward.

I have no idea what I will do. I do know that I need to trust my instincts. I do like the aesthetics of Kintsugi and the concept of apply Gestalt principles to my work. I just need to figure out how.

Keywords

35mm, 4x5, HP5, Fuji Superia, Colour, BW, Semester 2, Studio 1, Contemporary, Photography

Exploring fractured 4

New test prints. I have made a handful of DSLR images to save my film while I'm testing new concepts. They are "ok". The veil and soft-focus, achieved in-camera, worked well. The base image (below right) is on 35mm film. I photographed a series of these to experiment with concepts and ideas for my fractured theme. I am pleased with the results and prefer them as they are.

Boring

Interesting