Sanctuary

Exhibition Review: Photography | Brian Rope

SANCTUARY | 25 Artists

Sutton Village Gallery | 1 - 23 June 2024

The goal of this exhibition is to present a wide range of viewpoints about sanctuary. Australian and international artists honour the history of photography and the skill that goes into making images using traditional printing methods. The labour-intensive methods have produced handmade prints with rich textures and fine details that compel visitors to take their time, approach closely, and recognize the creativity and talent that went into each artwork. The visual narrative transports viewers to comforting spaces through found moments of serenity or consolation. We are encouraged to consider how we define sanctuary and how it may be apparent in our own lives.

The artworks include photopolymer photogravure with chin colle, salt prints from a wet collodion glass negative, cyanotypes and gum bichromates over cyanotype, Vandyke brown prints, albumen prints, carbon transfer prints on glass, a polaroid lifted and transferred onto watercolour paper, carbon prints from an iPhone capture, lith prints, chromogenic colour contact prints, tintype, and the Mordençage technique. No doubt, like me, most readers will not be familiar with all these processes. That is just one very good reason to visit this exhibition.

So, let me now share here just some of the pieces on show. Sydney artist Amanda Lawson has a profound love of botanical forms. She is exhibiting two delightful photogravure prints of tidal flow scenes in the Jervis Bay national parks. 

TIDAL FLOW 2024, Photopolymer photogravure with chin colle on Fabriano Ivory 220 gsm © Amanda Lawson

Danielle Edwards, from Melbourne, similarly finds sanctuary whilst walking through forests. Her infrared capture of a giant coastal redwood is simply beautiful.

THE GIANT ed. 4/15. Photographed 2018, Printed 2022 Platinum Palladium
on French Bergger 100% cotton paper - © Danielle Edwards

Local artist Chris Holly also finds sanctuary in the bush. His artworks were made on black & white film on a 1950s twin lens reflex camera. Then he used the Van Dyke brown process with a ferric ammonium citrate/silver nitrate chemistry. The emulsion was hand-painted onto Bergger 320gsm 100% cotton paper and then exposed by contact printing to ultraviolet light. He describes the resultant prints, of rocks in the Namadgi National Park which many of us would not even notice, as reverent and respectful. And, indeed, they are.

Untitled I, 2024 - Vandyke on Bergger 320gsm COT paper, Print size, 16x16cm, 41x51cm, framed © Chris Holly

Canberra artist (and busy commercial photographer) Hilary Wardhaugh is now an empty nester. She has moved to a home where the garden provides her with inspiration as well as sanctuary. Using Polaroid film that expired 20 years ago when her son was born, she has created a Polaroid lift of her favourite chair in the garden. It is an excellent example of how a good image can be made using a simple subject.

EMPTY-NESTER GARDEN U/S Polaroid lift and transfer onto watercolour paper © Hilary Wardhaugh

Another Canberran, Ossian Desmond-Jones is showing cyanotypes. One is of a nautilus shell which “forms a perfect protective sanctuary for the creature that inhabits it, and functions as an object of beauty on its own.” The technique used has created most interesting colours. 

NAUTILUS II U/S 2024 - (Cyanotype with copper instead of iron) on A3 Fabriano watercolour paper
© OSSIAN DESMOND- JONES

One international guest artist is Diana H. Bloomfield of North Carolina, USA. Her gum bichromate piece most successfully demonstrates that this process can resolve fine details in numerous colours.

SUNFLOWERS U/S 2018, Gum bichromate on 100% archival cotton rag. Print size 32x41cm,

frame size 48x39cm © Diana H Bloomfield.

Gallery operator Kim Sinclair has assembled a fine body of handmade prints, including one of her own delightful artworks. Every piece is of high quality and worthy of close inspection.

This review is also available on the author's blog here. And it has also been published in the June issue of The Printer at pages 18-21: here.

Into the Blue II

Photography | Brian Rope

Into the Blue II | Andrea Bryant, Kim Sinclair, Carolyn Pettigrew, Kiera Hudson, Carolyn Young, Linda Sukamta, Chris Byrnes, Mat Hughes, Ellie Young, Peter McDonald, Hilary Warren, Rebecca Murray, Jean Burke, Susan Baran, Jenny Dettrick, Virginia Walsh, Kaye Dixon & Wendy Currie

Sutton Village Gallery | 8 September - 9 October

Into the Blue II is the second annual group exhibition at Sutton Village Gallery showcasing the historic Cyanotype print and its application in contemporary art. 

Eighteen artists showcase a variety of cyanotype print methods using both original and ‘new’ cyanotype formulae, including prints on fabric, wet cyanotypes, photograms, contact prints from both large format film negatives and digital negatives, toned prints, and incorporated in multi-media applications.

Cyanotypes are one of the oldest photographic printing processes in the history of photography. The distinctive original feature of the prints is their cyan blue colour, resulting from exposure to ultraviolet light. But if you go to this exhibition expecting all the prints to be purely that colour, then you are in for a surprise. P McDonald’s Rocks Mornington Peninsula is a classic example. It is not cyan blue; it is a sepia colour.

Rocks Mornington Peninsula © P McDonald

If you expect all the works to have uneven edges revealing where the chemical solution was applied, again you will be surprised. So too if you expect all the works to be on fabrics or watercolour papers and not framed.

Melbourne-based photographer Mat Hughes works primarily with large format view cameras. Wet scans from selected negatives are meticulously made to create quality digital negatives from which to contact print. He finds light in dark shadows and turns the normal into sublime in his unique, beautiful and delicate printed cyanotypes. His Woodys Lake is a glorious example, although again not cyan blue.

Woodys Lake © Mat Hughes

Another Melbourne-based artist, Keira Hudson, specialises in different photographic processes, often interweaving different mediums together. During 2022, working with an artificial intelligence (AI) program, Hudson input different text prompts then altered the resulting images physically and digitally to create her cyanotypes on fabric.

Hudson’s use of AI raises interesting questions – many photographers currently are debating whether doing so means the outcome is no longer photography. More importantly, Getty Images is now refusing to accept submissions created using AI generative models because of concerns regarding copyright and plagiarism. Of Hudson’s artworks here, I most enjoyed Chalkboard. I have no idea how it was created, but it certainly says cyanotype to me, and I like it.

Chalkboard, 2022 © Keira Hudson

In Linda Sukamta’s cyanotype prints, the use of various artistic or communicative media, design and image layering applications are less habitually used techniques characteristic of her practice. Right Where I Belong is a fine example. Primarily in the traditional cyan blue, but also including a nearly opposite orange-red colour, it features botany.

Right Where I Belong © Linda Sukamta

Carolyn Young is a visual artist based in the Canberra region. Her artworks engage in ideas around land care, relationship to place, and between culture and nature. The excellent piece included here is a portrait of Harriet Scott (a naturalist in the mid-late 1880s) and chenuala heliaspis (a type of local moth thought to feed on wattle, eucalypts & pine).

Harriet Scott and Chenuala Heliaspis © Carolyn Young

Kaye Dixon is displaying some wonderfully imaginative works, reminiscent of illustrations in children’s or fantasy books. Of them, Draco the Dragon is the standout for me.

Draco the Dragon (from the bone woman series) © Kaye Dixon

Rebecca Murray is a Victoria-based artist engaging in contemporary and historical photographic processes. Works which explore time, place, belonging and un-belonging feature in this exhibition.

I did find myself wondering about the use of matting and frames resulting in the covering up of the traditional “messy” edges which have always been part of cyanotypes. Perhaps the artists primarily do so in order to create attractive pieces for potential purchasers to display on their home walls?

Each artist in the exhibition has contributed works well worth viewing – and a drive to Sutton Village to visit this gallery (and the nearby bakery) is a pleasing outing at any time.

This review was first published by The Canberra Times online here and at page 43 of their print version of 3/10/22. It is also available on the author's blog here.