This work is a hybrid of photography, painting, sculpture, collage, digital construction and ikebana. It’s a genetically modified bouquet, a handmade jpeg of a flower arrangement…
Time is also spliced in this work, the 19th and 21st centuries. A camera-less photographic technique from 1842 (which uses the sun expose the image) is used along with digital and biotech strategies to create the image. Discrete visual genes from within the work, along with pictorial DNA from separately created works, are spliced together to create something new.
Though the work arrives at a fixed state after the splicing, it remains open-ended — the same limited set of discrete parts could have produced infinite possible arrangements, from barely altered to radical disrupted .
This piece is from an ongoing series. This one is on paper, and smaller, (21 x 17” ), but others (on wood and other materials) are more architectural in scale (96”).
Possible futures (where the work can go):
Below are two other cyanotypes in this ongoing series; two works spliced together, each with metallic leafing. The original image for the works comes from a photo of a large ephemeral ash/snow installation done on a lakebed using found flora (to create a wind, rather than sun, based photogram):
Below are other works in the spliced painting / collage series; the first made using sourced flora growing in urban settings, the second a large upscaling of the style, the third a collage of found wind from across Canada, and the bottom one an inception collage (a 100 variations of same painting sliced and stacked within itself)