This photograph is the result of a variation in how I have recently been approaching my process. To begin, I start with a pencil drawing on paper which is then covered with a sheet of OHP film, which allows me to trace the original image with a brush, using black acrylic paint. Once the painting is dry it is then contact printed onto photographic film and developed in the darkroom. This negative will then be used to make a carbon-transfer print in the usual way, first developed on clean transparency and then finally transferred to gelatine-sized watercolour paper.
The advantage of tracing an original drawing is that the drawing itself serves as a point of departure from which multiple interpretations can be made, according to how I choose to apply the paint (or how it decides it wants to be applied), the size of the brush and so on. Although we could say that the drawing is the “original”, each variation that it gives rise to is also unique. Not every painting will be made into a negative, and not every negative will be printed. Instead, each step of the process gives me the opportunity to evaluate every piece anew.