Pulling portraits through a tiny hole in the frontal lobe (i)
Silver gelatin print on sea worn silver metal.
Mounted in an ebony frame.
(approx. 350x200mm)
Unsure what the material is, crumpled metal recently found, completely untarnished, on Atherfield beach.
Made by coating the surface of the metal with liquid emulsion, with a 35mm negative of a portrait exposed upon it. The metal was then developed as you would a print in the darkroom.
As light changes on the surface of the metal, for me it creates the illusion of multiple portraits appearing. The portrait in the print is sometimes lost, depending on the light, but appears striking in certain light.
Silver gelatin print on sea worn silver metal.
Mounted in an ebony frame.
(approx. 350x200mm)
Unsure what the material is, crumpled metal recently found, completely untarnished, on Atherfield beach.
Made by coating the surface of the metal with liquid emulsion, with a 35mm negative of a portrait exposed upon it. The metal was then developed as you would a print in the darkroom.
As light changes on the surface of the metal, for me it creates the illusion of multiple portraits appearing. The portrait in the print is sometimes lost, depending on the light, but appears striking in certain light.
Silver gelatin print on sea worn silver metal.
Mounted in an ebony frame.
(approx. 350x200mm)
Unsure what the material is, crumpled metal recently found, completely untarnished, on Atherfield beach.
Made by coating the surface of the metal with liquid emulsion, with a 35mm negative of a portrait exposed upon it. The metal was then developed as you would a print in the darkroom.
As light changes on the surface of the metal, for me it creates the illusion of multiple portraits appearing. The portrait in the print is sometimes lost, depending on the light, but appears striking in certain light.