I have extended the technique of back-filming the shadow projections of acrylic cubes, using the solid acrylic blocks that I have been using for cyanotype printing. I have mostly used the solid acrylic blocks, supplemented with two cubes. The blocks and cubes provide very different effects – the cubes present as wireframe “drawings”, while the blocks’ side edges present as solid. Continue reading
While in Grezzo I used the house to make a series of 1:1 cyanotype prints of the sunlight as it entered and moved around the house.
While in Grezzo in August 2017 I continued the work started with the Austinmer cyanotype models. I used a black IKEA Tjena box as the “model” and lined it in cyanotype paper. I used a lid top and bottom to ensure light fastness. The model was placed on the front step once the sunlight had started to move around to this area.
Following on from the successful Austinmer cyanotype experiments, I have bought cyanotype chemicals to make my own. I brought the dry chemicals, along with the necessary instruments (scales, measuring cylinder, brown glass bottles, syringes) to Grezzo. I used the cantina (a naturally dark and cool space) as my lab.
When the exposed cyanotype net was refolded back into a room the effect of the sun “shadows” on the space was particularly effective. The model was just large enough to film from the short end. I made a small number of test footage of some of the cyanotype print rooms.
The prints from the cyanotype room/camera models are recorded below. I preferred the print to have the window wall at the bottom, so that it connected directly with the shadows on the floor. Occasionally I exposed them the other way up. On the 20th April (when most of the tests were conducted) there was intermittent sun and cloud all day. This had the effect that the solid dark blue “shadows” of the sunlight are not continuous, rather each marks the time the sun emerged from behind clouds.