We spent our first day exposing plants and fabrics on paper. Some of my long plants were exposed on long offcuts of rag paper, and they worked really well. I tried printing letter stamps with some solution, which also worked quite well. Cherry did some wonderful double exposures. She painted her paper, exposed it, washed off, dried, repainted with solution, reexposed, and washed off a second time. Fantastic. One to try tomorrow.
I've got Aunt Joan's hand written recipe cards. I'd like to try putting these on acetate and printing with them. Especially the ones with food stains on them. Might take a bit of skill to get the exposure right on the acetate - the black/white contrast. Then expose them on some of her fabric. Then work into them. Need to take advice from Vanda.
Thinking about the interviews with Neil and Allison, it occurs to me that both of them said that they did not always value Aunt Joan and what she did, but as they got older, and changed their perspective, they can identify what they valued about her. So values are not always obvious at the time. And it takes insight to recognise and acknowledge it. These interviews tell me as much about the individual being recorded, as the person being the subject of the interview. Hmmm.
The second day we took the prints that had been dried for 24 hours, briefly re-soaked them in water, and immersed in 5% bleach solution for a few seconds, then soaked in tea or coffee solution to turn them brown. I decided brown was not to my taste, but a useful experiment.
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| Allium, Nigella, Weed, Leadwort |
I like long prints.
Third day we did more complex, combination prints. I tried selectively dipping sideways into bleach after cyanotyping, which I thought was very successful.
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| Alliums - I stitched into this later, and developed it. |
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| Acetate with permanent marker, and an exposed cyanotype |
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| More class work. |
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| Sideways dipped piece |
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