This print can be thought of as a “raw” copy of one of my brushstroke negatives, which I have been cutting up for my collages before transferring them to the final support paper.

What I find interesting about the collage process is that at each step of the way the visual information is further and further removed from its original context, and given new meaning based on the the new configuration within which it finds itself. In photographic terms this relates to not just the image that is printed, but also the process by which it is printed. As previously mentioned, I chose the carbon transfer process for my prints because of the unique characteristic of relief that it offers, but this is not the only process I’ve used, and I continue to experiment with other methods for representing the same information.

This minimalist, grid style is nothing more than an organised way of practising single brushstrokes within a predefined area that renders them useful and interesting in both their unaltered form and as individual parts of a collage. So while originally a rectangle as a consequence of me maximising the use of the film surface on which I paint, the form has evolved into a square in order to serve multiple purposes.

A selection of early cyanotype prints in rectangular form, that due to the speed of the process, allowed me to proof my negatives before deciding which ones I’d make as carbon-transfer prints.

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