For those interested in the Cyanotype workshop on Saturday the 20th of August here is the link to the booking site.
This workshop will cover the history of the Cyanotype with lost of visual examples. Participants will be shown how to apply the solution and how to create a photogram, there will a demonstration of how to bleach and tone the Cyanotypes using tea, coffee and tannin.
Over the last few months I have been teaching people the art of Cyanotypes.
Cyanotype printing is a long forgotten 19th century photographic printing process invented by Sir John Herschel (1792–1871) in 1842. Also know as shadowgraphs or blue prints this relatively simple process produces prints that are cyan blue.
One of the first pioneers to put the Cyanotype process to the test was Anna Atkins who in 1843 produced a book illustrated with Cyanotypes, pictured below.
With little or no photographic knowledge it is possible to create beautiful images with the cyanotype process. Images can be printed on a range of surfaces such as fine art papers and cloth.
The Cyanotype prints are exposed using the sun and are developed in tap water.
Cyanotypes can be used to create fine art prints, books, bespoke cards and wall hangings. Cyanotype prints are archival and will last for many decades.
There are a number of Cyanotype workshops coming up which are listed below.
–Thursday August 18 2016 in Lismore : https://www.eventbrite.com.au/e/cyanotype-making-tickets-26835666200?aff=erelexpmlt
–Saturday August 20 2016 in Lismore : http://lismoreartspace.net.au/workshops/
-Sunday August 28 2016 in Murwillumbah: http://artgallery.tweed.nsw.gov.au/
–Monday August 29 2016 in Bangalow: http://byronschoolofart.com/raimond-de-weerdt-i-one-day-cyanotypes-workshop/
– Saturday&Sunday September 17-18 in Bangalow: http://byronschoolofart.com/raimond-de-weerdt-i-making-cyanotypes/
Facing World War One is the latest project of Facing Australia currently on exhibition at the Museum of Brisbane in Queensland. The work took us a year to complete and can be described as a filmic presentation. As the foundation of this work we used the correspondences of Base Records and the civilian population and archival photographs from World War One.
I have been doing a number of workshops at both the Byron School of Art and the Lismore Art Space. The focus of these workshops have been to show students how to create photographic images using alternative techniques and processes.
Late last year I started workshops teaching the art of Solargraphy, creating images with long exposure times using an empty can and photographic paper. The image below is a 5 hour exposure.
The principle of Solargraphy is not unlike pinhole photography, except black and white photographic paper is used resulting in a negative image exposed on the paper. This exposed piece of paper needs to be digitized using a scanner or iphone in order to invert it into a positive image using Photoshop or an other photo editing program.
Below a shot of the Solargraphy ‘camera’ and subject and the result after a 4 hour exposure.
Here some examples of longer exposures.
Wes Hill in Conversation with Raimond de Weerdt
Silent Speech, Lismore Regional Gallery, 2014
Wes Hill: The works in Silent Speech are all digitally manipulated photographs that have a heavy emphasis on form. The chiaroscuro sense of light, which is often associated with gothic imagery, conjures fairy-tale-like associations, rich in allegory and reminiscent of directors such as Tim Burton or David Lynch, who draw upon the traditions of film noir. You made reference to film noir in some of your previous video work. What do you like about this style of representation?
Raimond de Weerdt: What I find interesting about film noir is that it is essentially a displaced European ‘look’, created by film industry people who escaped from Europe in the Second World War and settled in the US. Those early explorations of the darker, dystopian aspects of modernity have evolved into a mode of expression which is still with us today. The way film noir directors use light and camera angles to create visual tension and suspense fascinates me. A photograph is a single frame with no sound, no beginning and no end, and on a gallery wall it is in a kind of open proposition, so it is inevitable that the viewer has to complete the picture in their own mind. My photographs attempt to provide the viewer with a sense of incomplete mystery or suspense which they have to fill. They are constructed using digital means and I don’t want to hide that. For some reason there are still a lot of people who only regard photographic representation in terms of analogue purity, as if it were a measure of truth. My works are more about the push and pull between realism and fictional, dream-like states.