Two more diptych emulsion lifts.
I have tried manipulating the various layers a bit
more with these. Doing feels almost like mixing and
overworking paint on a canvas.
I aiming to try and acquire some found polaroids to
then bring through this process. Both as a way of
re-animating the image/memory, and also as a way of
almost making the image mine, despite my not knowing
of the history or events behind it.

While my previous polaroid experiments were quite
interesting, I didn't really feel there was anywhere I
could take them.
So, this led me to try out the "emulsion lift/transfer"
process. Although most of the stuff I read about it
either recommended using specific film (669) or 35mm
slide film. Freshly processed film was also recommended..
However I couldn't see why it wouldn't work with standard
600 film processed a few years ago, and besides I don't have
any fresh film to use.
When I was applying the emulsion image to the watercolour paper,
I was trying to pull bits apart and alter the image in different ways.
This was at odds with the examples I had seen, where the images
had obviously been carefully transferred so as to keep them as
intact and as recognisable as possible.
Anyway I'm pretty pleased with the results, and I have more
planned!

I tried a few experiments with "peeling" some old

polaroids recently, after reading an article on the Impossible Project website.

http://shop.the-impossible-project.com/allabout/silvershade/#ilovepeelings

Ideally I think it is intended to be done with freshly
taken film, but I managed to get some quite subtle,
but quite beautiful results with quite old film.
I found that soaking the polaroids in hot water for five
or so minutes allows for the emulsion to peel far easier.
I have some ideas of where to take this, so stay tuned for
more!

This is one of two new large 2 part pieces.
After first trying out this technique for the exhibition at
the end of my Brighton residency, I decided to re-explore it.
It involves cutting a multi-part stencil which is then laid over
sections of vintage FB photographic paper. After a few days
the nature of the paper being light sensitive means that the area
covered by the stencil has not had a chance to expose, thus leaving
a ghost like copy of the stencil behind.
When I did this for the Brighton exhibition, it was with the intention of
allowing the image to fade over a number of days. However I wanted
to find a way of preserving the image by stopping the the paper exposing.
I thought it might take a bit of trial and error with different methods, but
it turns out that using chemical darkroom fixer and properly washing the
paper afterwards preserves the image perfectly.
I plan to keep working on this method, altering the way I fix the paper,
trying different papers and working on larger/more complex imagery.
Images to follow.

Hello,
For one reason or another (me being lazy) it's been
quite a while since I actually posted anything...
But now I have two good reasons to.
Number 1: I have new work
Number 2: I'm involved in an exciting upcoming
project/performance/exhibition taking place in Soho.

Firstly the exhibition.
It is called Come Cut and is a performance/exhibition of
sorts, that gives anyone and everyone the chance to alter a
piece of artwork from an artist (4 or 5 currently) via a carefully,
or not so carefully made cut/incision.
The concept firstly (and most obviously) alludes to the current
funding cuts being made across the arts. However it also tackles
the notion of the perceived aura around a piece of art. Something
that may have taken its creator weeks, if not months, to create.
How will an individual react when given free reign to slice apart a
canvas, photograph or sculpture?
Overall I think it's a pretty unique idea that has both elements of fun
and spontaneity, but also an underlying message. Below is a link with
all the information regarding booking your slot to cut, a Facebook link
to RSVP and directions to the location.
http://comecut.co.uk/