
- CollegeCentral Saint Martins
- CourseBA (Hons) Fine Art
These sculptural prints exist as micro-archives recording the movement of light across a plane - they are concerned with the mediatisation of transitory phenomena.
Through its directness, cyanotype as a process ensures a quantifiable record of an object’s exact scale, presence, and solidity, acting as a record of the real. What then happens when you remove the object in its entirety and instead allow the folded paper to become the object which casts shadows on itself? Diverting from the traditional cyanotype process, which utilises a negative image, I considered the sculptural possibilities of folded photosensitive paper to generate its own light history.
In their flattened states, the prints become objects which hold within their surface the memory of three-dimensional space (that has reverted back into flatness, a sheet) through an archive of specific light and shadow. The blue monochromatic results encourage conceptual thinking on the inherently ephemeral nature of light.
Final work

Anthropometry in Blue (2023), detail
Bioplastic Cyanotype on Found Tile, 15 x 15 cm
Blurring the intersection between science and art, my recent experiments creating bioplastic cyanotypes offered a critical opportunity to interrogate the materiality of images. Plastic image-making allows for mimesis, impressions, and copies. The relationship between plasticity and mediums of reproduction (photography and printmaking) resonates. In concentrating on the material as an articulate image, I locate the image embedded within the material itself, not dependent on a fixed surface. The imprint is internalised at a molecular level.
Research and process

Folded Cyanotype (No. 5), During Exposure
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