Cyanotype Drawings : Landscapes/Maps and Performative Drawings

Mapping Relationships : Contexts and Locations #2
Collage and drawing with cyanotypes, photographs, negatives and painted surfaces.

Mesh/Material/Light, Cyanotype Process
Cyanotype is a photographic printing process that produces a cyan-blue print. Engineers used the process well into the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints. The process uses two chemicals: ammonium iron(III) citrate and potassium ferricyanide.

The English scientist and astronomer Sir John Herschel discovered the procedure in 1842.[1] Though the process was developed by Herschel, he considered it as mainly a means of reproducing notes and diagrams, as in blueprints.[2] It was Anna Atkins who brought this to photography. She created a limited series of cyanotype books that documented ferns and other plant life from her extensive seaweed collection.[3] Atkins placed specimens directly onto coated paper, allowing the action of light to create a silhouette effect. By using this photogram process, Anna Atkins is regarded as the first female photographer.[4]

From Wikipedia, the free encyclopedia


The Cathedral : Place Studies

Pastoral Space: Material, Inquiry and Craft.#5

Material Agency : Carl Knappett, Lambros Malafouris

Visualising Environmental Agency

 

"Agents are defined as persons or things, which have the ability and intention to "cause" something "in the vicinity" or "in the mileau" to happen ( Gell 1998)"

"These latter artefacts are described with the term "index", to remove the appellation "art" and to imply that they are indexes of agency."

Some Stimulating Solutions, Andrew Cochrane.

 

Template and Form 2010.The Yard, Winchester.

Omslagsfoto : 

Landscapes from the Metropolis of Death. Otto Dov Kulka.

Mapping Relationships : Contexts and Locations #3

Collage and drawing with cyanotypes, photographs, negatives and painted surfaces.

Blueprint : Kengo Kuma, Sensing Spaces.

Panspermia : Cyanotype Drawing
Drawing on paper,150x240 cms
Full size human form drawn through "performance" on paper with cyanotype and black ink. Astronomical data and traces of seed heads together with reference material/notes (directed panspermia) in pencil.

Anthropomorphic and Botanical Cyanotype Drawing (Detail)
Botanical traces with leper graves


We live our lives sunk in vast forgetting. Milan Kundera, IGNORANCE.

Human mapping of social groups from the occupancy of the Winchester Cathedral "Space for Peace" 2011.
Mono Print : Cyanotype process on paper, 52x42cm.

• Russell Moreton
• visual art
• visual fine art
• spatial practice
• research creation
• ecology of experience

Mesh/Material/Light : Cyanotype Process/Drawing Place

Movements and Archaeology  : Traces and Piercings.
Cyanotype photogram from Winchester Cathedral with pinholes.

The Cathedral : Place Studies

Pastoral Space: Material, Inquiry and Craft.

Material Agency : Carl Knappett, Lambros Malafouris
Visualising Environmental Agency

"Agents are defined as persons or things, which have the ability and intention to "cause" something "in the vicinity" or "in the mileau" to happen ( Gell 1998)"
"These latter artefacts are described with the term "index", to remove the appellation "art" and to imply that they are indexes of agency."
Some Stimulating Solutions, Andrew Cochrane.

Filament, drawing on lightweight paper.
Chapel Arts Studios, Andover.

Mesh/Material/Light, Cyanotype Process

Remote Sensing : Medieval Structures

Cyanotype is a photographic printing process that produces a cyan-blue print. Engineers used the process well into the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints. The process uses two chemicals: ammonium iron(III) citrate and potassium ferricyanide.

The English scientist and astronomer Sir John Herschel discovered the procedure in 1842.[1] Though the process was developed by Herschel, he considered it as mainly a means of reproducing notes and diagrams, as in blueprints.[2] It was Anna Atkins who brought this to photography. She created a limited series of cyanotype books that documented ferns and other plant life from her extensive seaweed collection.[3] Atkins placed specimens directly onto coated paper, allowing the action of light to create a silhouette effect. By using this photogram process, Anna Atkins is regarded as the first female photographer.[4]

From Wikipedia, the free encyclopedia

Mesh/Material/Light : Cyanotype Process/Indexical Remains

Cyanotype is a photographic printing process that produces a cyan-blue print. Engineers used the process well into the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints. The process uses two chemicals: ammonium iron(III) citrate and potassium ferricyanide.

The English scientist and astronomer Sir John Herschel discovered the procedure in 1842.[1] Though the process was developed by Herschel, he considered it as mainly a means of reproducing notes and diagrams, as in blueprints.[2] It was Anna Atkins who brought this to photography. She created a limited series of cyanotype books that documented ferns and other plant life from her extensive seaweed collection.[3] Atkins placed specimens directly onto coated paper, allowing the action of light to create a silhouette effect. By using this photogram process, Anna Atkins is regarded as the first female photographer.[4]

Locality/Social Complexity and the Everyday : Works on Paper

Cyanotype is a photographic printing process that produces a cyan-blue print. Engineers used the process well into the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints. The process uses two chemicals: ammonium iron(III) citrate and potassium ferricyanide.

The English scientist and astronomer Sir John Herschel discovered the procedure in 1842.[1] Though the process was developed by Herschel, he considered it as mainly a means of reproducing notes and diagrams, as in blueprints.[2] It was Anna Atkins who brought this to photography. She created a limited series of cyanotype books that documented ferns and other plant life from her extensive seaweed collection.[3] Atkins placed specimens directly onto coated paper, allowing the action of light to create a silhouette effect. By using this photogram process, Anna Atkins is regarded as the first female photographer.[4]

From Wikipedia, the free encyclopedia

Mesh/Material/Light, Cyanotype Process

Locality/Social Complexity- Works on Paper

DSC_6026 Hortus Conclusus













https://www.flickr.com/photos/russellmoreton/42235368954/in/dateposted-public/

Deconstruction of The Photographic/Unfinished Becomings : Research Collage #2

Blue Folder/Contents and Contexts of Interpretation
Texts, images, taxonomies, books, maps, characters

The Birth of Photography

The Experimental Period 1829-55
View from the Window at Le Gras (1826-27)
Nicephore Niepce

Library Window, Lacock Abbey (1835)
William Henry Fox Talbot

Sir John Herschel (1839), reveals that sodium thiosulfate can permanently 'fix' a photographic image

Photography and The Modern
Experimentation and Abstraction
Cut with the Kitchen Knife 1920 Hannah Hoch
The Constructor (Self Portrait) 1924 El Lissitzky
Avant-Garde Photography In The Weimar Republic
From the Radio Tower, Berlin 1928 Laszlo Moholy-Nagy
Photography Deconstructed
From Postmodernism to Globalization 1977-Present

I Am Not This Body
Barbara Ess

Reality requires a perceiver who has memories, thoughts, desires, emotions and beliefs that intersect with the phenomenal world.

The archaic immediacy of the pin-hole camera,
The Truth and The Grotesque, ambiguous perceptual boundaries between people, between the self and not self, between in here and out there.

Life Is Subjective
Reality includes a perceiver through whom experience is filtered.

The Physical reality of the world is recognised as/by its shadow within the mind, its negative then inverted entities that both exist simultaneously and emanate from the same phenomenological origin.

Floris Neususs
The size of Photograms is one of the sources of their particular power : they always portray subjects to scale, unlike photography, in which the size of the image is arbitrary, and most usually depends on the size of the print, rather than the object that has been photographed.

Nudogram of Pregnant Woman 1967
Silver Gelatin Print, 190x64.5cm
Whole body photograms can  communicate intimacy, but in another sense  they can create detachment.

SHADOW CATCHERS
CAMERA-LESS PHOTOGRAPHY
V&A London  2010-11