Title: C

Cobalt 1

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Autumn 2010

Oil, water, light, lambda c-print from dye destruction print

122 x 152 cm / 48 x 60 " (unframed)

 

He describes his new working method as a hybrid one since what was one-stage has become two-stage. The first stage remains the same, the creation of a small photochemical print using Cibachrome paper in the darkroom. In the second stage he collaborates with Bodkin to enlarge the image digitally while retaining the appropriate intensity of colour and the subtleties of the transitions. To achieve such digital enlargements without loss of quality requires exceptional printmaking skills. What the resulting images lose in intimacy, they gain in power and drama. These are gallery works that arrest the viewer and invite a kind of immersion in the world of colour, form and light that is impossible on a smaller scale.

 

The Colour of Time by Garry Fabian Miller, from the essay ‘Time and Light’ by Nigel Warburton.

Black Dog, London 2010.

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Cobalt 1 (detail)

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Autumn 2010

Oil, water, light, lambda c-print from dye destruction print

122 x 152 cm / 48 x 60 " (unframed)

 

He describes his new working method as a hybrid one since what was one-stage has become two-stage. The first stage remains the same, the creation of a small photochemical print using Cibachrome paper in the darkroom. In the second stage he collaborates with Bodkin to enlarge the image digitally while retaining the appropriate intensity of colour and the subtleties of the transitions. To achieve such digital enlargements without loss of quality requires exceptional printmaking skills. What the resulting images lose in intimacy, they gain in power and drama. These are gallery works that arrest the viewer and invite a kind of immersion in the world of colour, form and light that is impossible on a smaller scale.

 

The Colour of Time by Garry Fabian Miller, from the essay ‘Time and Light’ by Nigel Warburton.

Black Dog, London 2010.

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