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lauraprisk2020 · 4 years

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Written Contextual Element

Approaches to photographing Flora and Fauna

Laura Prisk

Figure A (above) shows Rebecca Louise Law’s Florilegium installation. Source - https://www.rebeccalouiselaw.com/artwork/florilegium

Introduction

Anna Atkins was born on the 16th March 1799 in Tonbridge, Kent, England and died on the 9th June 1871 in Halstead Place in Kent. Atkins started her photography career in her early 40s which is later in life when compared to most people. Atkins is thought to be the first person who made an attempt to apply photography to make repeatable images for scientific study and learning. Along with Atkins photography work this is what she became best known for.

Atkins’ father was a respected scientist which was how she got into scientific activities from a very early age however, her mother passed away shortly after she was born. Atkins main interest was the study of botany (which is the scientific study of plants). Through Atkins father’s contacts within the Royal Society, Atkins managed to get into contact with William Henry Fox Talbot. Talbot taught Atkins about photography. However, in Atkins work she used techniques which didn’t involve the use of a camera to produce her botanical work even though she owned one at the time.

Atkins fathers’ connections also included astronomer and chemist Sir John Herschel, Atkins became interested in the cyanotype process which was in its early stages of invention. The cyanotype process was created by Herschel in 1842. The cyanotype process works through using a mixture of iron compounds, when the compounds are placed under UV light and washed in water, it creates Prussian Blue Images. Atkins first started using this process to record all of the species of algae in the British Isles. Atkins first collection of work was called British Algae: Cyanotype Impressions which was released in 1843 and by 1850 she added 12 more parts to her work.

Atkins first book was the British Algae: Cyanotype Impressions and was one of the first books to use light-sensitive materials to illustrate it. As well as that, instead of using traditional letterpress printing, the books were handwritten and illustrated by the cyanotype process. This took a considerable amount of time for Atkins to do, for example, for roughly 14 copies of the book British Algae, Atkins had to produce around 6,000 cyanotype pieces by hand. In 1854 Atkins collaborated with her friend Anne Dixon and together produced an album called Cyanotypes of British and Foreign Flowering Plants and Ferns. Anne Dixon is also said to have helped Atkins with her first book (British Algae).

Many people believe that William Henry Fox Talbot wanted to be the first person to create a photographically illustrated book, his was called The Pencil of Nature (1844-46) however, the production of Talbot’s book took to long and Atkins produced hers before him. Her book was about seaweed. Despite Atkins being the first to publish a photographically illustrated book, Talbot is often seen as the first person to create one which means Atkins has received little credit. On the article named The Woman Who Made the World’s First Photobook written by Maika Pollack, Pollack states;

“A number of distinguished women have told me that it hardly matters who is “first”—as if “first” were merely a male ambition—and as if women have better things to do than worry about their place in these histories. Yet major histories of photography almost completely omitted Atkins until the 1990s. At various points her “A. A.” initials on the book were even said to stand for “Anonymous Amateur.

Figure B (above) – “Shows Anna Atkins, Alaria esculenta, 1848-49, from the book Photographs of British Algae: Cyanotype Impressions. Courtesy The New York Public Library.”[1]

Figure C (above) – “shows Spread from Photographs of British Algae: Cyanotype Impressions, 1848-49. Courtesy The New York Public Library.”[2]

Kenji Shibata

Kenji Shibata was born in 1964 and is a Japanese, Asian, Modern and Contemporary artist. Shibata graduated from Osaka visual Communication College (now Nippon Photography and Video College in 1993 and in 1999 Shibata founded the Kenji Shibata Photo Office.

Shibata freezes flowers in blocks of ice, once they are completely frozen he sets them up in his workspace to photograph the ice as it melts and captures the thawing process. Shibata’s photographic style is defined by soft lighting, psychedelic images of women and flowers with tightly framed shots of nature and urban landscapes.

Concept

The concept (message) behind Shibata’s work is the idea of preserving life at a particular point in time through the use of ice. Time is then allowed to move again once the ice has started to thaw and the flowers make their way out of the ice as they start to die.

Deeper meaning

The deeper meaning behind Shibata’s work, for example may lie within his “Locked in Ether” series. The flowers within the ice have been frozen at a very particular point within time almost as if time is standing still for the flowers and that won’t change until the ice is allowed to thaw. However, when the ice thaws the flowers will die as they escape the ice which means the life of the flowers will no longer be preserved. This sense of preservation at a particular point in time suggests that time can remain still but for only a certain period which can be shown when Shibata leaves the ice to thaw and the flowers die and wilt. The decaying of the flowers could also represent loss of beauty once time has stopped standing still.

Figure D (above) shows Kenji Shibata’s artwork, titled Locked in the Ether.

Source - http://www.shibatakenji.com/gallery/locked_in_the_ether/index.html

Analysis of Shibata’s work

Figure 1 (above) - Shows Kenji Shibata’s artwork, titled Locked the Ether, Source - http://www.shibatakenji.com/gallery/locked_in_the_ether/

Figure 2 (above) - Shows Kenji Shibata’s artwork, titled Locked the Ether, Source - http://www.shibatakenji.com/gallery/locked_in_the_ether/

Figure 3 (above) - Shows Kenji Shibata’s artwork, titled Locked the Ether, Source - http://www.shibatakenji.com/gallery/locked_in_the_ether/

Figure 4 (above) - Shows Kenji Shibata’s artwork, titled Locked the Ether, Source - http://www.shibatakenji.com/gallery/locked_in_the_ether/

The way in which the blocks of ice are photographed show the smooth and glass like texture of the ice. If you look closely at the at the ice you can see small details for example, the air bubbles which have remained trapped from when the water had been frozen. In figure 1 (above), there is a rough surface which looks grooved and indented as the thawing process takes place. Whereas in figure 3 (above) the surface looks to be bumpy but smooth. In the four photos which are displayed here, it can be seen that two main forms of materials have been used to create the artwork, being the ice and flowers. Both materials work successfully together and are easily accessible to anyone wishing to create such artwork. Flowers (similar or the same) can be brought from a variety of shops, including supermarkets, and they don’t have to be from expensive shops. This could also be recreated using flowers found within the environment around where people live. Even though, water is available to the majority not everyone has access to facilities in which were used to make ice sculptures as big as Shibata’s although, smaller versions could be created using an ordinary household freezer. The techniques used aren’t the most complex to use however, if whoever is recreating the piece wants the flowers within the ice to freeze in a particular way/position that would probably be the most difficult part of the process. The shape and form that the ice takes is varied, although the ice has clear angular properties. In figure 4 you can see a sharp rugged edge which contrasts with the smooth edges which are on show in figure 2. Overall, the shape takes a geometric form however, looking through Shibata’s work each block of ice is different. Within Shibata’s artwork the light is focussed on the sculptures with the background being dark which won’t distract people’s attention from the ice but instead onto it. Even though, there is use of lighting the creation of shadows is minimal. Within the blocks of ice where lighter coloured flowers have been used the overall tone within the image is lighter (for example, in figure 1) and where darker flowers have been used the tone in the photo is darker overall (for example figure 4). Throughout Shibata’s artwork, there aren’t obvious themes of colour however, he tended to use purples, yellows, pinks and whites as well as the green on stems and leaves. In figure 3, you can see that Shibata has used sunflowers which have purple going through them which creates a warm, summery feeling and in figure 4, the photograph is mostly dominated by purples which gives a darker, warmer feel. Within Shibata’s work he has created a contrast between the thawing of ice and the beautiful frozen flowers that are dying as they make their way out of the ice and into the open air. Within the ice there is a mixture of fresh and dying flowers, they’ve died due to the conditions they’ve undergone being frozen in ice.

Personal opinion

Overall, my personal opinion on Kenji Shibata’s artwork is positive. The use of trapping flowers within ice and taking photographs of the thawing process is intriguing. Out of the four pieces of artwork which I have displayed above my favourite is figure 3. The use of sunflowers is interesting as they are associated with warmth, contrasting heavily with the use of ice. Displaying the flowers upside-down also creates added interest, a very unusual viewpoint for florals and very distracting to the eye. It has a reflective quality due to the thawing ice and water, making the viewer linger longer on the image than perhaps a more classic image of a sunflower.

Ellie Roden

Roden was a primary school teacher in Southern Vermont and had always had a passion for flower gardening. Even though Roden had been pressing flowers for years and creating pieces of artwork. Only since her retirement has she been exhibiting them throughout many galleries and national publications although she mainly focusses on selling them via the internet. The techniques which Roden has acquired have been self-taught. Using the pressed flower techniques Roden taught herself, she produces many different pieces of work from bookmarks to cards and framed pieces. To compose her work Roden uses a variety of real flowers accumulated in her own garden and the surrounding environment. In order to preserve the florals, Roden uses a flower press known as a Microfleur. The Microfleur works by drying the flowers almost instantly whilst maintaining their natural colour, which is an important factor within Roden’s work. The techniques and tools which Roden uses are relatively easy to use however very intricate. Roden can spend hours on just one piece of work just arranging the flowers/leaves etc. into the right positions, rearranging the flowers using tweezers and tiny brushes. Once Roden is happy with the arrangement she uses an acid-free glue to stick them to the paper, this acid free glue ensures the flowers stay in their natural state.

Concept

The concept behind Roden’s work is the message of preservation and the importance of conserving our environment the way it is at present before it is gone forever.

Deeper meaning

The deeper meaning behind the Roden’s work could be a need to preserve the environment. By Roden pressing the flowers and framing them she is preserving the natural beauty of the surrounding environment which may not be here in years to come but only visible through images and Roden’s work at preserving them. The need to preserve our environment also demonstrates the level of care and compassion we need to have for it in our ever changing world where the environment is put under considerable amounts of pressure everyday as globalisation takes over. This could also be linked to the climate change crisis where preserving the environment around us is vital.

Figure 5 shows “alstroemeria petals form the focal flower. Pink and white flowers are striking on a black background.”[3]

Figure 6 shows the Blue and Red Garden which is a “variety of blue and red flowers comprise this garden including cosmos, lavender, daisy, bachelor buttons, delphinium and more. Framed in double mat and silver frame.”[4]

Figure 5 (above) - Shows Mandala. Source - https://www.vtpressedflowers.com/pressed-flower-art?deeplink_referrer=socialB_pinterest

Figure 6 (above) - Shows The Blue and Red Garden. Source - https://www.vtpressedflowers.com/pressed-flower-art?deeplink_referrer=socialB_pinterest

Analysis of Ellie Roden’s work

Figure 7 (above) - Shows Queen Anne’s Lace. Source - https://www.vtpressedflowers.com/pressed-flower-art?deeplink_referrer=socialB_pinterest

Figure 8 (above) Shows Pink Alstromeria. Source - https://www.vtpressedflowers.com/pressed-flower-art?lightbox=dataltem-k8c29c23

Figure 9 (above) Shows Harry’s Garden. Source - https://www.vtpressedflowers.com/pressed-flower-art?lightbox=dataltem-k5ldd04v

Figure 10 (above) Shows White Moth Hydrangea. Source - https://www.vtpressedflowers.com/pressed-flower-art?lightbox=dataltem-k5ldd04v

Upon looking at Roden’s work through images from her online website, it is hard to tell what the texture of the pieces would be, especially hard the area of her work of which I am interested in is framed behind glass. However, if you look beyond the photo frame the texture of the flower presses would be bumpy

yet defined due to the fact they have been pressed. If we were able to feel the pressed flowers we would probably be able to feel the small fine details which have been exposed during pressing process. This process would almost make the flowers become more fragile because of how thin they would be. In each of Roden’s pieces of work there are different patterns which can be seen, for example within figure 8 the pink flowers in the centre are repeated but the greenery surrounding it has no obvious pattern. Whereas within figure 9, there looks to be no patterns at all with many different flowers and greenery. In each of Roden’s pieces of work, space is used very differently. For example, the flowers within figure 8 are situated in the middle of the frame with a lot more of the background showing than in figure 9. However, in figure 9 there is a lot of overlapping of the petals and overall the flower created is much bigger. Along with the black background this gives a lot more depth to the piece of work than in figure 10 where there is overlapping but the surface area which is covered by the flower is larger. This doesn’t give the sense of depth perhaps due to the black background which creates an illusion.

All of Roden’s pieces of work have been created using the same techniques. Throughout all of the artwork she uses real flowers and pressed them using a Microfleur. The Microfleur works by drying the flowers whilst maintaining their natural colours. Roden works very intricately using tweezers and fine brushes to arrange the flowers into the correct positions before using an acid-free clue to stick them in place. She has done an excellent job at concealing the glue which has been used to stick the flowers down as quite often it can seep through. Even though the running of the glue is a potential problem it is a very easy and effective substance use. The Microfleur in which Roden uses probably isn’t accessible to the majority but from research they aren’t as expensive as people may assume and vary depending on the brand. There are many tutorials online which demonstrate how to press flowers using household items from a microwave to a book, cheaper alternatives than buying a proper press. Upon reflecting on the materials which Roden has used it is hard to think or imagine of what other processes/mediums could be appropriate for creating such pieces especially considering how effective the images are. Not one of Roden’s pieces takes the same form of another, they all vary in different ways. For example, both figure 7 and 10 have black backgrounds and both use white flowers however shape nor form of the flowers are similar within the artwork. Every image is individual and holds its own charm and characteristics. Due to the nature of the pressed flowers, no two images could be identical, giving rise to original artwork. The compositions vary dependant on what resources are available and it would seem that the images organically form with the artist, taking their own shape as they are created.

Across Roden’s work she has used a broad colour palette but within certain pieces of work one colour dominates more than the others. With the black background pieces the main colour is white and within the pieces with the white background it appears to be that the most vibrant colour which are used is the yellows and pinks however within these pieces she has placed variety within of colours there, such as figure 9. Roden’s artwork overall doesn’t fit directly into one genre and could be considered to fit with multiple. Such as in figure 9, it can be argued that the arrangement of gives a feel of a landscape of flowers. The main focus within Roden’s work is the flowers which your eyes are automatically drawn to by the presence of the plain background. The work overall creates a positive response, it suggests peaceful mood which is symbolised by the use of delicate flowers. However, the mood of the pieces with a black background demonstrate a much darker mood and not as uplifting as figure 8 and 9. The overall shapes which each piece of work takes varies dramatically from one another, for example in figure 10 the flower stands alone compared to in figure 9 where there is an array of flowers which are present within the piece of work. Practically the orientation of the photo frame (whether it is vertical, horizonal, portrait or landscape etc) would vary depending on the orientation of the piece of work inside of it. The arrangement of the flowers within figures 7, 8 and 10 do not largely reflect flowers found within the surrounding environment. However, the arrangement of the flowers within figure 9 do somewhat reflect a landscape of flowers which may be seen within nature. When paying close attention to the flowers, the small line details can be found within the flowers leaves. The lines vary in size from short to long but reflect the delicacy of the flower itself.

Personal opinion

My overall opinion of Roden’s work is positive. The very simple but effective and intricate techniques which she has used portray a strong visual message of the importance of conserving the environment at its present state. Of the four images of Roden’s work displayed above my favourite is figure 9, entitled Harry’s Garden, the piece overall reminds me of rural areas due to landscape orientation of the piece. The title of the piece adds to the message of conservation by portraying a garden in which someone is looking after almost as if they’re conserving the environment around them.

Rebekah Campbell

Figure 11 (above) Shows Rebekah Campbell’s collaboration with artist, Ben Giles. Source - https://mymodernmet.com/ben-giles-rebekah-campbell-beautiful-flower-collages/

Campbell is a photographer who is based within New York. Campbell’s interest and inspiration for her work lie within exploring femininity and youth culture. Her work is inspired by a variety of things including books, previous life experiences and so many more things. Campbell has collaborated with a number of people however, in figure 11, Campbell collaborated with artist Ben Giles to create this collage. Campbell and Giles came into contact with one another after coming across each other’s work on social media. Campbell has stated previously that she takes inspiration from photographers such as Lina Scheynius, Shae Detar and Elle Hardwick.

“Her works explore the subject's individuality as well as the effects of natural states while escalating the intimate narrative.”[5]

Ben Giles

Giles is nineteen years old and is an artist from Suffolk in England. He works with a variety of media however, it is his collages which he is most well known for. Giles makes his collages around photographs which he has chosen, he tends to uses photos dating back from the 1950s and 1960s as he believes they’re better at creating story’s. Giles, like Campbell, gets inspiration from a number of sources including books, films and the television along with many others. In order to create his pieces he likes to add things into his collage which are bright and colourful. In order to create his collages, he simply uses scissors, glue, found objects and found photographs.

Concept

The concept behind the collaboration between Campbell and Giles’ work is the exploration of youth through Campbell’s photography and the presence of vibrant flowers with Giles’ collage. Together creating a message of natural beauty.

Deeper meaning

The deeper meaning behind Campbell and Giles’ collaboration is through the combination of messages they portray within their own work. for example, through Campbell’s photography she explores individuality “femininity and the brink of youth hood.”[6]. This message combined with Giles’ meaning behind his flower collages which is “about the celebration of life and the speed and fragility of our existence.”[7] Creates a beautiful deeper meaning of the celebration of femininity and youth hood expressed through bright and vibrant flowers contrasted with the slightly more dull and toned down photographs.

Analysis of Rebekah Campbell and Ben Giles’ Collaboration work

Figure 12 (above). Source - https://mymodernmet.com/ben-giles-rebekah-campbell-beautiful-flower-collages/

Figure 13 (above). Source - https://mymodernmet.com/ben-giles-rebekah-campbell-beautiful-flower-collages/

Figure 14 (above). Source - https://mymodernmet.com/ben-giles-rebekah-campbell-beautiful-flower-collages/

Figure 15 (above). Source - https://mymodernmet.com/ben-giles-rebekah-campbell-beautiful-flower-collages/

The texture of the pieces of work look to be smooth as it seems to be paper which has been used. The flowers which have been cut out from paper have many different patterns and lines within them which gives off the impression which there is more texture within them when if you were to feel them they would actually be smooth. The textures which are implied are fine detailed intricate lines which can been seen within figures 12 and 14. The photographs taken by Campbell show depth due to the shadowing and lighting behind the model, the illusion of depth is added to by the collage’s by Giles and the layering which he creates . This can be shown in figure 12 where the collage has been curved around the model giving the impression she is further into the background of the photograph than what she actually is. Whereas within figure 13, the positioning of the flowers doesn’t add to the depth of the piece it is the photograph itself which contains the depth along with the coloured background. All four pieces of work shown here are constructed from the same/similar materials. However, in figures 12, 14 and 15 the same background and photographing techniques have been used including the cloth background. Compared to figure 13 where the background has a tie die effect, which could be created from the same cloth just dyed. The collages created by Ben Giles have been layered using flowers cut out from magazines and various other forms of media. For Giles to create his collages he stated he simply used glue and scissors, upon looking at his work you can’t see where he has used glue. The overall cost of Giles work would be very minimal if someone wanted to recreate his collage work shown here compared to Rebekah Campbell’s photographic work which may require more specialist equipment although inspiration could be taken from Ben Giles own work (which he hasn’t collaborated on) where he uses images/photographs from different time periods e.g. the 1950/60s, using this technique recreating the pieces of work would be a lot easier and more accessible than if people were trying to recreate Rebekah Campbell’s photographs.

The collages which are layered on top of the photographs take an irregular form. In both figure 12 and 14, even though they share some similarities such as the vibrant colours of the flowers and the variety of the flowers themselves. The shape in which the two collages within figures 12 and 14 take are similar however not identical. For example in figure 12 it can be seen that the collage is very focussed on the model as it curves around her figure, the collage in figure 12 is also extremely confined to the bottom half of the page whereas within figure 14 the collage is more spread out and gives a free flowing appearance extenuated by the models body language compared to in figure 12 where the models body language is a lot tighter. In figures 13 and 15 the collages are a lot more minimal than the other two images; this is due to less flowers being used. Due to the collage not being as packed it leaves more room for Giles to experiment creating patterns with the flowers which can be shown within figure 13. The light within figures 12, 14 and 15 are more varied and gives a more minimalistic feel compared to figure 13 where the background has colour to it. Overall in the photographs (in figures 12, 14 and 15) there is are more pale tones which add to the minimalistic feel of the pieces compared with figure 13 where the photograph has a tie dye background which suggests a more boho feel. The minimalistic tones within figures 12, 14 and 15 are contrasted with the vibrant collages, these collages make the pieces stand out. As for figure 13, the coloured background doesn’t outshine Giles’ collage but rather compliments it as the collage sticks to more brown (subtle) tones. Within figures 12 and 14 the collages are packed with a variety of warm colours however it is the yellows which dominate the piece. Yellow flowers within the two pieces seem to be repeated most which gives the effect that they stand out the most. Whereas in figure 13, the flowers (leaves in this piece) take a more toned-down approach where they have the colours of autumn leaves. In figure 15, what looks like images of daisies are used with the only other colour of yellow being shown. The white flowers stand out considerable because of the contrasting dark background. From the model within the pieces of work you can see clearly that Campbell’s exploration of youth has been portrayed. In figure 14, the model’s pose is more free flowing which dictates the free-flowing nature of the collage which suggests a message of playful youth – this can also be shown within figure 15. Whereas within figure 12, the nature of the model’s body language is more closed and shut off which also compliments the collage’s more compact nature. The model’s body language within figure 13 along with the boho style (tie dyed) background, the piece overall demonstrates a dreamy and relaxed atmosphere. The orientation of the pieces of work is mostly portrait due to the way in which the photographs were taken by Campbell. However, due to the pieces not being in frames it has allowed Giles to take his collages to the next level by allowing them to flow off of the page and in figures 13 and 15 the collages have carried on onto the wall, an interesting compositional element.

Personal Opinion

My overall opinion on all four pieces of work shown above are positive however, I favour figures 12 and 14. This is because of their vibrant collages which contrast with the more moody and dull backgrounds. In my opinion the collages are a full of life which fulfils Campbell’s exploration of youth. Even though figure 13 has some amazing qualities I don’t feel the background compliments the piece very well and overshadows the collage.

Angela Chalmers

Chalmers was born in Stoke-on-Trent. Her mother was a fine china lithographic artist which is where she learnt how floral patterns were created on the side of teacups. Whilst she was a child her father was in the RAF and was an amateur photographer. Chalmers went onto gain a Foundation in Art & Design from Greenwich Community College in London followed by a BA degree in Fine Art from the University of Hull.

Figure 16 (above) - Angela Chalmers cyanotype work. Source - https://www.angelachalmers.com/portfolio/botanicals/

Chalmers currently resides in Scarborough, North Yorkshire where she creates Botanicals using a method called the Cyanotype Process. Chalmers creates her work cyanotype work without photography but uses 19thcentury printing techniques.

Concept

The concept behind Chalmers work is to explore themes of gender and identity through using traditional cyanotype printing techniques. Chalmers particularly focusses on gender in the Victorian era.

Deeper meaning

The deeper meaning behind Chalmers work is the exploration of gender. Through the piece of work in which she uses wedding dresses it portrays the message of exploring female gender particularly the roles of women. As stated in the concept she focusses on the Victorian era, the message she could be trying to portray through the use of gender exploration is the mistreating of women during a time period of male domination. It is interesting to note that in the Victorian era, Anna Atkins was prevalent. I wander if the work of Angela Chalmers is a nod to this?

Analysis of Chalmers work

Figure 17 (above) - Angela Chalmers cyanotype work. Source - https://www.angelachalmers.com/portfolio/botanicals/

Figure 18 (above) - Angela Chalmers cyanotype work. Source - https://www.angelachalmers.com/portfolio/botanicals/

Figure 19 (above) - Angela Chalmers cyanotype work. Source - https://www.angelachalmers.com/portfolio/botanicals/

Figure 20 (above) - Angela Chalmers cyanotype work. Source - https://www.angelachalmers.com/portfolio/botanicals/

Due to the nature of the cyanotype process the Chalmers work looks as if it has been created digitally therefore not giving an obvious texture or surface pattern. However, in figure 18 the flowy material of the dress looks as if you almost want to reach out and touch it and the same goes for figure 17 and 20 where the process really picked up on the outer details of the plants especially within figure 20 where you can see almost every individual bristle on the plant. Within figures 17 and 20 there is an element of depth to the pieces of work which is created by the layering of the plants. The plants which are on top (in the foreground) are the whitest whereas the plants and leaves which are further into the background they look more like shadows. Due to this depth it creates an illusion that you’re looking into a dark forest where you can only see beyond a certain point. In contrast figure 18 lacks depth due to the sole element of the piece of work being the dress. The dress is purely white which draws all of your attention compared to the figure 17 and 20. Whereas within figure 19 the human figure and the use of plants also creates depth but nowhere near as much depth which can be seen in figure 17 and 20. The materials which were used for all of Chalmers pieces of work are relatively similar other than the physical objects within each piece (for example, the dress). The full cyanotype process is explained in my introduction previously. However, in short, the cyanotype process uses’ chemicals which are exposed to a receptive surface where then it is exposed to ultraviolet light. Throughout Chalmers work there is not one which is the same and therefore not a dominant shape or form which is carried through the pieces however, upon looking through Chalmers Botanical collection (figures 17 and 20) it is clear that each piece of work takes an irregular structure. Even though the irregularity is similar it is what makes each piece unique. Figure 19 comes from within a collection of two which is titled ‘Adam and Eve’, whilst I was comparing the two, again there are no obvious similarities other than the irregular arrangement that the plants take in the background. Within all of Chalmers cyanotype pieces of work there is a broad range of highlights which have been used. Throughout all four pieces of work displayed here, it is clear to see the variation in blue tones. In figures 17 and 20 the plants which appear to be nearest to the front of the camera have the lightest tones compared to those which are situated within the background. As for figure 19, the human figure has a variation of tones within the mid-section of the body however, it doesn’t stand out but rather the human figure is where your eyes are drawn to first. to the left is figure 18, in this piece of work there is little variation of tones and highlights and as a result the dress is dominated by white.

Due to the chemicals used within the cyanotype process, the dominating colour is blue as that is the colour which is drawn out by the ultraviolet light. The variations of the blue and the white within figures 17, 19 and 20 create a warm atmosphere perhaps due to the presence of the plants adding a summer feel. The majority of Angela Chalmers work falls within a portrait orientation due to the way she has created and arranged the work. The objects within each piece of work from the plants to the person or dress are all recognisable even within figures 17 and 20 where the further into the background of the image that you look the more distorted and blurred the leaves and shrubbery become. Whereas within the foreground of the pieces of work the objects are more focussed. Within figure 19 where the person has been included, her body language (the position in which she is in) gives the effect that she is falling. This is accompanied by the positioning of the plants which surround her and on the left-hand side of the piece of work, the plants look as if they’re curving around him/her as they fall. The meaning and interpretation of each of Angela Chalmers work is different for example, within figure 18 you could link state the dress is symbolic of women and gender roles from within the Victorian era. I am also inclined to believe that due to the fact I sourced figure 19 from Chalmers collection titled ‘Adam and Eve’ that this piece of work has a form of religious attachment or meaning behind it. Despite Chalmers using traditional cyanotype techniques which originated in the 18th century, her pieces of work very much fit in with today’s contemporary society. Collectively, Chalmers work featured linear marking although not created by herself. The markings are present as they’re what the objects featured in each piece contain for example the tiny details on the dress within figure 18 to the fine details of the leaves in figures 17, 19 and 20.

Personal opinion

Overall, my personal opinion is positive even though I do favour figures 17 and 20 due to the sheer detail which is present within each piece. I particularly like the depth created within these two pieces of work and the feeling that you’re looking deep into a forest. Despite those two pieces being my personal favourites, I do like figure 18 because of the realistic features of the dress, it gives the appearance that someone is inside it yet it is standing alone. Despite figure 19 being an exquisite piece of work, I am not a lover of the human figure within it. In my personal opinion I believe that the cyanotype process works better with just plants and shrubbery.

Conclusion

Throughout my research for this essay I discovered that there is a vast expanse of media which falls into the category of Flora and Fauna. My research led me in many different directions in terms of artist work, which has varied from Anna Atkins and Angela Chalmers who work with the cyanotype process to Rebekah Campbell and Ben Giles’ collaboration of photography and collage – all of which have been shown above. Putting aside the artist/photographers I decided to focus on within this essay, I looked at many more including Anna Remarchuk who uses real flowers and places them within envelops to create delicate pieces of work. Along with Nicola Kloosterman who combines photography with photoshopping techniques to create exquisite pieces of work. From the vast range of artists and photographers who fall under the umbrella of Flora and Fauna. I wouldn’t say that there are any limits to what can be achieved for example, I have found a company (entitled loasiscandle) which produce wax candles with flowers inside which inspiration could be taken from even though their purpose wasn’t intended for the project title of Flora and Fauna. Even though inspiration could be taken from anywhere for this project it is important to note that there is a danger of repetition. Throughout the work which I have looked at there have been some striking similarities for example, when I was looking into researching about the cyanotype process it was made clear to me that many artists who use this process, their work ends up being very similar however, I managed to find Angela Chalmers whose cyanotype work varies drastically from that of Anna Atkins despite them using the same processes. This variation between the two artists was very important to me as I wanted to make sure that I had multiple points in which I could take inspiration from when it comes to creating my own pieces. This same danger goes for my other artists featured within this essay, the process of finding artists which use different forms of media was a difficult task, it was especially difficult when it came to finding an artist who used the flower prosses but whose work was different and didn’t blend in with the other artists who done similar things. This was when I came across Ellie Roden who used fine intricate techniques in order to create her work. However, despite the danger of repetition which I have mentioned there was also many artists who stood out and whose work was one of a kind which was the case with Kenji Shibata’s frozen flowers. Throughout my research process there wasn’t another artist who used remotely similar processes to Shibata’s. The danger of repetition is something which will influence my work greatly. Even though I would like to take inspiration from each of the artists mentioned and more to come as my project develops, the risk of repetition has been clear to me through my research and has led me to be more careful in trying to avoid it.

Overall, I have learnt and discovered more techniques. For example, before researching this project I only had a rough idea on what the process was and how it worked whereas now I understand it in more detail. As well as learning more about certain techniques I have also learnt about techniques and processes in which I have never considered before such as Kenji Shibata’s use of ice. Before finding his artwork, photographing flowers within ice is not something I’d have thought of. I have also enjoyed learning about the intricacies which go into creating flower press artwork such as that of Ellie Roden.

Moving forwards with this project there are a number of things in which I would like to take forwards with me such as inspiration from the different artists’ work and processes to making sure to avoid the risk of repetition. However, most importantly I would like to expand my base of artists and photographers as my project develops.

Bibliography

Anna Atkins