OCA Thames Valley Group Meeting on 15th July 2017

Attached is a PDF of the notes I made for the OCASA website as they again provided funds for tutor Jayne Taylor to join us.

Notes for OCASA on 15th July 2017 OCA Thames Valley Group Meeting

I showed the group a selection from the Cyanotypes I created at the recent Workshop I attended (see here   ) and some further experiments using old glass negatives.

The glass negatives are fascinating to work with (I’ll be unpacking some more later today) and I am continuing to upload my ongoing experiments to my Instagram account . In addition to thinking about how I can ‘present’ these variously sized pieces of work I am also thinking whether I can use  cyanotypes of enlarged extracts from my father’s letters from Egypt as development of Assignment 2.

 

They haven’t exposed as clearly as I would have wanted but, as John said, the other cyanotypes I am creating can be regarded as practice models and some of them are very clear.  Both he and Jayne were also interested in the small negatives I had created to use

and thought it would be good to find ways of utilising them as items in themselves.

My brain is still circling around topics to use for the critical review (Assignment 3) but keeps leaping ahead as well to Assignment 4/5 so Jayne suggested I create a mind-map. I have used them in the past but need to guard against being distracted into spending too much time making sure that the map itself has ‘correct’ links.

I also mentioned my idea for a project which will take me back onto the Copse and my intention to use wool to create work in the landscape itself. I’ve already started on this and tagged it on Instagram first as #weftwood, but then decided that #interruptedlandscape would be good as an overarching title for this kind of work. Here’s a taster video I created when I first began

<p><a href=”https://vimeo.com/226924929″>In the Beginning</a> from <a href=”https://vimeo.com/cblearninglog”>Catherine Banks</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

The project will build fairly slowly according to weather conditions and I’ll be writing more fully about in a later post.

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10 comments

  1. Super wool idea for the copse. It will be interesting to see where it takes you. The cyanotypes are promising – I have not had much success with mine as they have all turned out very dark recently – overexposed, I think.

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  2. I am very interested by your cyanotypes experiments, they really seems to go somewhere, but it is your video that really caught my attention here… I am really looking forward to seeing more of that too!

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    1. Thanks Stephanie. I’m continuing with them in anticipation of more ideas emerging. I certainly want to continue with the videos as well but will now have to wait a while because my desktop computer has died on me!

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  3. Just as it takes some trials and tribulations to make a conventional print (whatever that means these days) on an inkjet printer, the same is true for any other process. Whilst there is a ‘standard’ way of doing things with the negative and chemicals etc it will take some time to make predictable prints. That is one of the reasons I made a light box – you’re welcome to borrow it – as it delivers UV light in a measured way and therefore cuts out at least one variable.
    I am particularly interested in the glass neg’s as for one thing the emulsion won’t have the same contrast curve as a modern digital camera and will therefore reproduce in a way that no-one can have imagined. For another thing the realisation of the positive will be a revelation and be re-constituted in a new narrative framework – I’m really tempted to see if I can hold of some for a play….

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    1. The glass negatives do add something special. I received some more yesterday via eBay and they are such good quality. The seller has also now given me some further information on them so I can do more research.
      The weather has certainly not been very conducive to sunlight prints so thanks for the offer of the loan. I’ll email you.

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  4. like your project idea of art in landsape with wool as a medium. Resonated with some place in my neigborhood. Are you looking also at sustainabilty? I know that Jennifer who is on drawing2 is looking at a project in that context. Looking foward to seeing your progression

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    1. Hi Stefan, thanks for your interest. At this stage I’m not looking at sustainability specifically although this does come into it. This is a small copse, part of a SANG which is under threat from the need to free land for housing. The dilapidated bench has been dumped on a spot at the top of a small bank of earth and I think some of the local youngsters go there occasionally, often leaving there empty cans etc and remains of fires. I conceived this project as a dialogue between myself, bench and copse and also any young people – to see what happens to the wool as it ‘grows’.

      This is also a continuation of similar work in the same copse that I created during the module Context & Narrative ( https://catherinebankscn.wordpress.com/category/personal-projects/working-on-my-voice/2-continuing-to-develop-my-place-in-landscape/ )

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