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I have placed a few works from my current ocean portfolio in the above linked PDF. These works have grown from my sense of sanctuary in long walks at the ocean’s edge during this time of Covid lockdown.
Feeling wave upon wave wash over the sand moved me into the cyclic and expansive motion of the ocean. To express the ocean’s vastness and materiality, I pick up remnants of sea life washed onto the sand.
Placing these fragments of sea life directly into my enlarger, I make camera-free large 16 X 20 inch negatives to contact print using brushed palladium metal on translucent Japanese gampi paper and expose the negatives and paper using the direct rays of the sun.
When I place these fragments in my enlarger, the depth of field is similar to a lens that is wide open on a large format camera. Some details are sharply focused while others are softly embraced.
Using palladium allows for tonal distinctions of extreme subtlety. Sometimes when I paint the palladium on the paper, I paint only the shape of the object and leave the rest of the paper open. This I have done with the corals. Centering the corals allows for the concentration of their forms.
Strands of seaweed, horseshoe crabs, shells, broken glass–ocean and human debris–the viscosity of salt water teeming with life–ebb and flow. When animals left the ocean for land, they took the sea with them. Our veins carry the same mixture of sodium, potassium and calcium as sea water. The ocean is our origin.
My hands forage for what the sea gives. I create prints to express its marvels.
A few of my palladium prints that I created from camera-less negatives of these sea fragments are part of an online exhibition https://fayddigital.com/Nature-in-lockdown published by this online magazine which works at the intersection of art, design and the environment.