The past few weeks have led me to discover more photographers working in a similar vein to my own practice.
One of those is Liz Nicol who I met at the Hestercombe Gardens Garden Leave residency in March.
She has been working on the salt marshes of the Venice Lagoon to study the plants that inhabit this threatened area. She has been working with conservationist Jane da Mosto (scientific adviser for Venice in Peril) to create an exhibition at the Torre Massimiliana, Isola di Sant’ Erasmo.
Her work with the cyanotype process stems from the 90s to the present day. As with me, she finds a fascination within this process, and it has been a constant in her practice.
I also came across Liz Orton via a Format Festival email alert.
Her series The Longest and Darkest of Recollections considers “how we occupy geologic spaces”. She states on her website that, “It is influenced by the idea that we stand on the threshold of a new geologic era, the Anthropocene, in which humans are causing irreversible damage to the earth. Until now geology has been concerned with the past. We are at a unique moment in seeking to name the present and future through rocks.”
This sense of a threshold, a change in how we view the land, the earth, and our closest surroundings as well as global ones are all bound up in my own views. In my first module, I spoke about the geological representation of time and our actions within it. This reference to time and place still remain in my current practice.
The third photographer to gain my interest is Esther Teichmann. I was looking at her work only a week or two ago, and then I received a What’s App message from a fellow student who had made it to Format, sharing a snap of her work and the words that she might interest me. He was right. Although it is probably her cyanotype work that intrigues the most.
And from that I discovered Blue Mythologies by Carol Mavor. It’s a book I still need to buy but its a study of the colour blue. In his review for Los Angeles Review of Books, Dylan J. Montanari writes that Mavor’s aim of the book is to “capture the paradoxical nature of both “blue” as well as “mythology”, which it seems perhaps is something I am often doing in my own work, particularly my most recent Nature’s Goddesses series. Plenty more to discover and consider in relation to my penchant for working with the colour blue.
Montanari, D. (2013). Lasting Impressions: Carol Mavor’s Affective Palette. [online] Los Angeles Review of Books. Available at: https://lareviewofbooks.org/article/lasting-impressions-carol-mavors-affective-palette/ [accessed April 13, 2017].
Nicol, L. Available at: http://www.liznicol.co.uk/ [accessed April 13, 2017].
Orton, L. The Longest and Dark of Recollections. Available at http://www.lizorton.co.uk/photography/the-longest-and-darkest-of-recollections-2/ [accessed April 13, 2017].
Teichman, E. Available at http://www.estherteichmann.com/ [accessed April 13, 2017].