An ongoing series, continuing my exploration of the littoral landscape with which I feel such a deep affinity. Using a nineteenth century camera-less, chemical process (cyanotype), light-sensitive papers are taken out to the strandline, exposing them to the dynamic elements of seawater and sand, which leave their imprint, visually marking a moment in time.
Inspired by the large scale wave cyanotypes of Meghann Riepenhoff, and other artists who are finding new ways of working with older photographic processes, these small studies of tiny areas of the strandline are the result of further experimentation with the traditional cyanotype chemical formula. Altering the chemical mix of the ferrous oxides, in combination with different papers, can produce fascinating colour shifts. Back in the studio, other media have also been selectively incorporated into some of the pieces.