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