Photography
Light, held
in surface
I print the way I throw a pot. Slowly, and onto whatever surface will hold the image best. Some prints sit on paper. Others are fired directly onto porcelain. The process changes the meaning of the image as much as the subject does.
Process
Cyanotype
Exposed in daylight, developed in water. The blue is unmistakable, unrepeatable, since no two exposures land quite the same way.
Process
Silver Print on Porcelain
Where the two practices meet: a photographic emulsion fired directly onto porcelain. The image becomes an object you can hold, not just look at.