Think of Me as a Place, 2023
Archival pigment print mounted to birch panel, sawhorses, petals, twigs, crystallized calcium carbonate, redwood leaves, plaster casts, fossil, glass, plexiglass, gouache

36 x 48 x 29 inches

This work is a topography of the self: a collage of the found, broken, and made.

Natural and manmade objects rest on top of a photographic print. The photograph is of the same objects printed at a 1:1 scale, creating questions around what’s real and what’s photographic. Through this illusion, the notion of objective photographic truth becomes a site of play and inquiry.

Installation photos from the 2023 Murphy & Cadogan Award Exhibition


Solar-printed cyanotype photograms, 10 x 12.5 inches each, 2023



Solar-printed cyanotype photogram, single panel detail (4:30 pm)


This piece records of the sun’s changing angle over the course of a single day. Images shown in the installation are from approximately 11am, 12 pm, 2 pm, and 4:30pm. The parallelogram shape is formed as a result of the shadow of a rectangular object blocking the sun from reaching the light-sensitive paper.







 


That space, that garden is a group exhibition from lens-based artists Madeline Cass (NE), Meganelizabeth Diamond (CAN), Leah Koransky (CA), Emily Margarit Mason (NM) and Meg Roussos (WA) exploring the expansive possibilities that are given life when femme and queer perspectives engage with the genre of “landscape.” Though the legacy of this imagery is firmly stamped with terms like “modernism” and “straight photography,” this group of artists uses the tools of photographic history, from the earliest photographic methods to the most postmodern, to investigate the tactility and emotionality of a climate on the brink of catastrophe.

While distinctive in practice, the tools of these artists all overlap; their methodologies and processes are all oriented toward engaging with the land around them as an active co-conspirator. Through their images, these artists do not beg the viewer to “see like me” but rather invite the audience to “see for yourself” or, better yet, “touch for yourself.” —Delaney Hoffman

Press


 

Anthotypes, invented by Mary Somerville in 1842, are created by coating a substrate with fugitive plant dye. The coated paper is covered with an object or image printed on transparency and left in the sun. The intentional fading creates an image. These studies have exposure times varying from one day to three weeks and use botanical materials including blackberries, turmeric, chard, and cabbage.

I am interested in how the ephemeral qualities of nature can become part of the process of art-making. The physical pieces will fade over time and are kept in very low light; however, high resolution scans of each piece are made as a way to document and archive them.



This ongoing research practice explores the merger of historical photographic processes and new technologies in printing and image production. It started during the pandemic as a way to combine my research into plant and mineral ink-making with hands-on photographic techniques using only the sun to expose the prints.

Forms created by sunlight are ephemeral and always changing, yet I am paradoxically drawn to collecting them—almost freezing them in time. 

Anthotypes, invented by Mary Somerville in 1842, are created by coating a substrate with fugitive plant dye. The coated paper is covered with an object or image printed on transparency and left in the sun. The intentional fading creates an image. These studies have exposure times varying from one day to three weeks and use botanical materials including blackberries, turmeric, chard, and cabbage.