Archives for category: Lumen Prints

If prints could talk, Ocean Shores might tell the viewer that it is a trace and shadow of purple broom buds native to the craggy Pacific shore. Chamaecytisus purpureus, less prominent than the common yellow broom, is now considered an invasive plant consuming beachfront real estate.

It was the colour of this broom that first attracted me to collect a few sprigs for a series of Lumen Print impressions made on sheet film. What remained after a full day in the sun was a photogram that would be transformed into fixed images using sodium thiosulfate. Next, the sheet film was scanned and again transformed in a digital photography space where I constructed an image reminiscent of the plant material, the residual sand and the light falling on the shore at dusk.

Currently, Ocean Shores is among the 39 alternative process photographs on exhibition in unique: alternative processes at ASmith Gallery in Johnson City, Texas thru 14 January 2018. This exhibition affirms my interest in what constitutes a photograph and the experiments, historical and contemporary, which push the boundaries and yield unique results. When I agree to submit to an exhibition, I surrender, leaving curators and preparators to work their magic. In this space, the image is again transformed when set in a visual conversation among unique alternative process photographs selected by Christina Z. Anderson.

 

 

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TRUTH AND BEAUTY Digital Gallery presents Illuminations, a selection of my recent lument prints. This exclusive, inaugural Online Exhibition aims to reach a broad international audience and enhance ongoing programming at the Vancouver gallery.

Illuminations, a series of Photograms, assembles impressions of materials placed on photosensitive paper using organic materias gathered from the beach, the forest, and the street. I record traces and shadows made by the various debris on sheet film. These handmade negatives are then digitized and transformed into an illumination of their original organic form.

Visit the DIGITAL GALLERY to enjoy this inaugural exhibition of Lumen Prints.

Turbulence
Pigment ink on cotton made from a handmade negative using a Lumen Print process

Eleven Sassamatt Collective photographs are in the Cityscapes Art Rental collection, five by Phyllis Schwartz and six by Edward Peck.  They will be on show in their September salon syle exhibition. The exhibition runs 08 – 30 September (Cityscapes, 355 Lonsdale, North Vancouver). Work on show is available for rent or sale. This is an excellent opportunity to buy more art.

https://nvartscouncil.ca/events-exhibitions/art-rental-show/

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Artists by nature are not hard-wired to boost, promote, or sell their work. Buyers usually want to know more about the works that attract their attention and perhaps purchase. That more can be the backstory, the technique or inspiration, and it is often said that it is not the work that is sold but the story that is bought. For some artists, that conversation is difficult. In my own artist practice, all of this is the case. If I could bring that story to life in conversation, there would be no need for me to make a drawing, photograph, artist book or ceramic sculpture. I came to value (and now miss dearly) art school critiques because I learned how to speak more confidently about the backstory, techniques and inspiration in my artist practice. Having said that, this blog feels somewhat like shameless self-promotion, but it could also be a year end summary about where my work can be found, where this work can be purchased.

South Main Gallery (279 East 6th Avenue, Vancouver) now represents my work, particularly More Illuminations, featured in Vancouver’s Capture Photography Festival (2016).

Cityscapes Art Rentals (335 Lonsdale Avenue, North Vancouver) holds a small collection of my work for rent, rent-to-own, and purchase. A selection of my work will be in the 2017 Art Rental Show (opening 12 January through 04 February 2017).

The Brooklyn Art Library (28 Frost Street, Brooklyn, NY)/ Sketchbook Project now sells high quality prints of pages from nine of my sketchbooks in their collection. Sketchbook Collection

Gifting is an art form in its own right, and in this season of gift giving, a gift of art is a double gift because it gifts the artist as well. More about my photography continues at http://www.sassamatt.com

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Cathy's Orchid

Cathy’s Orchid

A feast of lumen prints are showcased in the newly opened Salon at A Smith Gallery in Johnson City, Texas. Lumen, an exhibition showcasing this feast of alternative photography, includes Cathy’s Orchid, a digital print made from a handmade negative created by using a Lumen Print process. The exhibition dates are 11 March to 16 May. Two receptions will be held: 25 March and 30 April (4 – 7 pm). An exhibition catalogue available from Blurb is forthcoming.

Lumen prints are photograms made by a contact print process using organic materials that leave traces and shadows on photosensitive surfaces. These unique prints are made without a camera or darkroom enlarger. These materials transmit enzymes that interact with the surface of the paper, leaving X-ray like marks of both their shapes and interiors. Lumen prints on sheet film can be scanned and processed as digital prints. Artists experimenting with this process include Jerry Burchfield, Adam Fuss and the artists showing work in Lumen.

Two of my vintage analogue Lumen Prints have been selected for auction at ArtBeat Vancouver. Works by fifty up-coming and established local artists have been curated by Lynn Ruscheinsky and will be auctioned at ArtBeat 2015 this Saturday, 25 July at the Belkin Residence (7349 Blenheim Street), 4 – 10 pm.  Event details and ticket purchase details can be found at ArtBeat/Events.

Both Lumen Prints from the Spanish Banks Series were previously exhibited at the in the Emily Carr Awards Exhibition at the Winsor Gallery. These works are early explorations of the Lumen Print process using materials gathered from the seashore.

ArtBeat 2015 is a fund raising event for the expansion of Esther’s Place, a safe house for women fleeing domestic violence, as well as Little Footprints/Big Steps, a charity founded to aid rescuing children from situations of abuse, slavery, homelessness or severe neglect. More details can be found at ArtBeat/The Cause. 

Spanish Banks Impressions 13 (Lumen Print on fibre, unique photogram)

Spanish Banks Impressions 13 (Lumen Print on fibre, unique photogram)

Fan Coral (Lumen Print on Fibre, unique photogram)

Fan Coral (Lumen Print on Fibre, unique photogram)

I am writing this blog so I can learn to spell and understand pareidolia. In the 70s, I read an article in Scientific American that explained how the eye-brain constructed recognizable shapes from ambiguity. That information gave me insight into how visual art that compelled caused me to look again, and I was sure I would remember that word. I reached for that word many times, talking around it and hoped someone could fill in the gap in my knowledge. That gap was filled in conversation following one of my Facebook posts during  the  Black and White Photo challenge this September. Now in a time when access to this kind of information is only a few keystrokes away, I am able to fill in that gap.

Pareiolia explains why we see the man in the moon, dragons in clouds, faces (especially eyes) in tree bark and projected imagery in reflective surfaces. This rediscovery of this word and this phenomenon gives both an explanation for my fascination with abstract Lumen Print compositions and a context for my artist process. Artwork, music and literature that offer multiple valid readings have always attracted me;  my favourites continue to invite another layer of meaning. My Lumen Prints that render smaller ambiguous pareidoltric artifacts engage my viewers and often spark interesting conversation. I look again.

Bladderwrack and Rainwater (2010)

Bladderwrack and Rainwater (2010)

One of my most enduring compositions, Mother and Child, was an early starting point in my Lumen Print artist practice. When I look at this Lumen Print, I see a goat like figure and a playful calf nuzzling up affectionately to a protective figure, a mother to my way of looking at it; I want to see a Mother and Child, and a reach into the photograph for more imagery to complete that story. Others might see darkened outlines of familiar seaweed shapes: bladderwrack, sea lettuce and the potassium deposits made by sheets of Lamenaria left out in the rain. My early Lumen Print work was essentially creative botanical documentation. I discovered the X-Ray like marks in Lumen Prints  yield more information than in botanical drawings; these Lumen Print documents simultaneously photograph the interior and exterior of the specimen. When I freed these materials from their orthodox portraiture and used these materials in the markmaking process,  then landscapes and narratives emerged. Instead of Lamenaria and Bladderwrack resting on photosensitive surfaces for a portrait, they were telling stories.

Sea Shells and Rainwater (lumen lith printed from a handmade negative, 2010)

Sea Shells and Rainwater (lumen lith printed from a handmade negative, 2010)

Wanting to go beyond the discoveries of the botanists who were among the first to discover a photographic process for recording visual information in their notations, I turned to an exploration of the capacity of sheet film in Lumen Printing.  A 4 x 5 inch block of sheet film does not leave much space for composition, a challenge when I was composing organic material on photo paper that measured 16 x 20 inches. I was curious to find out how much detail sheet film would record for printing and projecting in large format. Sea Shells and Rainwater was my first handmade negative; I positioned a small handful of crushed seashells on sheet film and exposed it to an afternoon of hazy light. This negative was digitized and developed much the way I worked in an analogue darkroom: amplifying light and tonal values. I worked on this image until it came to life: when a pair of eyes appear and a life form took shape on a green colour field. In digital format, I am able to show X-Ray layers in much the same way they appear in analogue Lumen Prints.

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Recent Lumen Prints, both analogue and digital, tell pareidolic stories: Caribou posing for a portrait, momento mori in What Remains from gathering foliage in New York, possible life forms Among Cherry Blossoms, a portrait emerging from Chesterman Beach sea tangles. And more at Sassamatt Images.

Art Rental Show — two of my recent Lumen Prints have been added to the Cityscapes Art Rental collection and will be on show in their salon syle exhibition. Thursday, 08 January, 7 – 9 PM (Cityscapes, 355 Lonsdale, North Vancouver).

Truth and Beauty DoorCrasher Special— offers Limited Edition Prints (Desert Salt, for example), OpenStock Prints and Loose Prints at discounted prices. One week only: 10 – 17 January (Noon – 5pm), 698 West 16th Avenue. Check out the Collective collection.

Winter Salon at Photohaus Gallery — WinterSalon continues thru January. Three of my Lumen Prints are on show in this exhibition. Two of these prints are analogue lumen prints; it is an exciting opportunity because (as far as I know) I am the only artist in Greater Vancouver working in this hybrid photo-printmaking medium. Check website for hours of opening and location.

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Winter Salon 2014 opens Thursday, 27th November ( 7 – 10:30 pm) at PhotoHaus Gallery (14 West 7th Avenue) with an exciting collection of work that includes three Lumen Prints that were recently exhibited at die Bedürfnisanstalt in Hamburg Germany in September.

MisSummer Spanish Bank Impressions is my current analogue Lumen Print Series. On a parched summer day, I gathered materials from what had been deposited on the beach at high tide. In my work, I am always curious to discover what emerges from the footprints and shadows of my compositions on photosensitive materials. This summer’s pareidolic gift offered images of caribou, bears and canine forms, including one that received Honourable Mention from the Cascadia exhibition jury.

My current series of Digital Lumen Prints, Illuminations and Impressions,  are made from materials gathered from the Ocean Shores (Washington) foreshore. These images are made from handmade negatives using a Lumen Printing process and then digitized. These new plant forms have made new forms that trace the footprint and capture the shadows on photosensitive materials. Their luminescence invite the viewer to imagine motion and drama in what remains.

This Autumn’s exhibition at die Bedürfnisanstalt featured a selection of New York analogue Lumen prints that were exhibited in Tree — literal and figurative (On-Tak Gallery, Vancouver Chinese Cultural Centre) and premiered MidSummer Spanish Banks Impressions. A selection of digital Lumen Prints were previously showcased at the Chinese Cultural Centre Museum as well as new works made at Ocean Shores, Washington.

Caribou Portrait, Ocean Shores Impressions 1, Serious Caribou

Caribou Portrait, Ocean Shores Impressions 1, Serious Caribou

Winter Salon 2014 continues through December. Check hours and address at PhotoHaus Gallery’s website. http://photohausgallery.com/upcoming/

Shelter Island             Illuminations 
Edward Peck        Phyllis Schwartz 

Die Bedürfnisanstalt, Bleickenallee 26a, Hamburg 22763

Vernissage: Sa: 13.09.2014 12-17 Uhr
Öffnungszeiten
So., 14.09.2014, 14 – 18 Uhr
Mo., 15.09.2014, 16 – 20 Uhr
Sa., 20.09.2014, 14 – 18 Uhr
So., 21.09.2014, 14 – 18 Uhr
Lumen Print Workshop/Vorführung [auf Englisch]
Di., 23.09.2014, 14 – 18 Uhr
Neue Fotoarbeiten
Mi., 24.09.2014, 18 – 23 Uhr
Do., 25.09.2014, 15 – 19 Uhr
Finissage: Fr., 26.09.2014, 16 – 20 Uhr

Sassamatt presents the European premier of new work by Phyllis Schwartz and Edward Peck. These Canadian experimental visual artists work in photographic medium. Schwartz is one of the few contemporary artists making artwork using the lumen print process. These hybrid prints are made by a contact and printing process photosensitive surfaces that are digitized. Peck with multi-disciplinary background is using a multiple exposure photographic hybrid digital development process to create abstract works from concrete objects.

Sassamatt, a Canadian based artist collective, presents work by Edward Peck and Phyllis Schwartz for exhibition in Bedürfnisanstalt between 13 and 26 September. These two photo-based artists use the details located in their immediate environment as inspiration for innovative image making. Their exhibition, Sassamatt Presents, is the European premier of their latest work. The exhibition will be held in Die Bedürfnisanstalt, a unique gallery exhibition space in Hamburg’s Altona community. They will also be open for visitors to watch their work in progress. There will also be a workshop demonstration of the lumen process and both artist will be available to discuss their work and artist processes.

Edward Peck is an experimental digital photographer with multi-disciplinary background that includes painting, watercolour and printmaking. Much of his current source material is drawn from weathered and sea battered boats, some of which are in the process of returning to their elemental state, bringing the aging process of these boats to life by through an abstract exploration of form, colour and texture. His bold compositions are colour fields confidently sectored by elementary materials that are caught in the act of transformation. These transformations become abstract landscapes.

Phyllis Schwartz is an experimental photographer. Her x-ray like images penetrate the surface of her subject material and produce secondary images discovered only in the development stage of her printmaking. Plant enzymes and atmospheric conditions also interact with the surface to produce unexpected results on the surface of the paper or sheet film, leaving x-ray like marks of both their shapes and interiors. These illuminations of New York foliage and British Columbia  marine plant life hover on the cusp of abstract imagery and poetry.

Addition information on these two artists can be found on the Sassamatt Images website www.sassamatt.com .

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