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World Cyanotype Day 2023


Cyanotype on the glass of an old photography lens, 5min exposure with an uv lamp. 
The picture of the cyanotype is taken by me and shows my great-cousine. i mainly work with paper an teabags, so for me it was a challenge to do a cyanotype beyond paper. this was my second try with glass and i'm happy with the result.

Cyanotype on a deer skull found in the woods behind my house. 
My art is a celebration of nature's beauty and a call to integrating it more into our lives.

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Cyanotype emulsion on eyeglass lens. By printing the picture directly on my old glasses, I wanted to freeze the memory of the first beautiful thing that I saw through them when I was a child.

Cyanotype of leaves and cut paper on sea potatoes (Leathesia marina), a type of marine algae. As a photographer and sculptor, I love cyanotyping on found objects. It satisfies my desire for an environmentally friendly practice, while the different shapes and materials challenge me to come up with out-of-the-box creative solutions. Recently, I have begun exploring totally compostable art by using plant materials such as wasp nest paper and algae.

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In my prints I use cyanotype on fabrics. As a textile designer, I choose the fabrics carefully, from the composition of the fabric to the connection. Accordingly, I determine the appropriate way for the composition of the fabric. In my prints I directly look at the reality. The sea is not the same sea; it is high, intimidating, polluted, and contaminated. I dive into the depths of the sea - the subconscious, observing, listening, and collecting parts from there that I am flooding up to the surface - to consciousness.

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Cyanotype print on a freshwater swan mussel shell (mother of pearl side). 
I am a visual artist working predominantly with alternative photography. I enjoy pushing the limits of my processes to keep evolving, particularly when it comes to sustainability.

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Cyanotype portraits printed on the inside of medication packages. This ongoing, long-term photographic project is called "Sérotonine et capitalisme" (Serotonin and capitalism). It came from my desire of finding respectful, destigmatizing ways of exploring mental illness through photography, while trying to offer a critical gaze on these inherently political issues.

Alternative Processes Academy Student ⭐ 

A close to life size portrait out of cyanotype and tea bags. My photo “stripped” speaks to the idea of being pillaged of your identity and in this specific work; it's more closely related to race. While creating this piece, I aimed to speak about my lack of identity and how I was robbed of my culture living in a majority white-populated town. This project is a close-to-life-size self-portrait of me in my boxers, standing with a deadpan look on my face. The piece comprises 1,200 empty tea bags sewn, stapled, and safely pinned together. It was then cyanotype to give a faded but noticeable self-portrait which is seen better the further you stand from the piece. The reason I decided to use tea bags for this piece was to represent the colonization of India by Great Britain and how they stripped my ancestors of their livelihoods.

Winner of the Alternative Processes Academy Scholarship ⭐ 
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I collect river rocks, print cyanotype images on them, and return them to where I found them, for others to find.

Alternative Processes Academy Student ⭐ 

For this work I use the cyanotype technique on rice paper (edible). Some traces of plants, but the cyanotype becomes more sculptural, giving way to a fine and translucent drape due to its malleable texture. Sometimes a plant corolla, it also integrates into the landscape like a cloud or the continuation of a mountain to create new small abstract landscapes.

Alternative Processes Academy Student ⭐ 
-K-rO LhO, France, Fleur de cyanotype sur feuille de riz 2 - Kr Ol.jpg

Carousel is an installation of tea bags which have been printed using the cyanotype technique. The tea bags have been hanged in a ceramic hoop which enables the installation's rotation. Materials used: clay, thread, tea bags. “Carousel” explores the transition from childhood to womanhood by combining the early childhood memories of the artist with her current, adult self. Through this travel of time, the artist aims at reliving, processing and resolving past trauma while also exploring the idea of the sexualization and objectification of the female body.

Alternative Processes Academy Student ⭐ 

This series of sculptures consists of cyanotype prints of snake textures performed on roots covered by a thin vegetable bioplastic skin. When the root meets the energy of the Sun it suddenly reveals its reptilian truth. The arboreal offshoots embody a metamorphic truth of plant existence: its ambiguous hybridity, its amphibious dimension. Through them, plants inhabit the sky and the earth simultaneously. As cosmic mediators, plants therefore manifest themselves as ontologically amphibious beings: they bring together earth and sky, stone and light, water and the sun in their bodies.

Lorenzo Zerbini_Amphibia_1 - Lorenzo Zerbini.jpg
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Cyanotype on linen sheet and dress. 
'I slip into the blue light of winter', a video work projected on and through a cyanotype on linen, is a cyclical exploration of selfhood in relation to nature, literature, and companionship. Drawing parallels from Virginia Woolf’s The Waves, this installation serves as both a meditation and a reclamation, contemplating the structure and limits of the self, and challenging the narrative of the “mad woman.”

Alternative Processes Academy Student ⭐ 

Cyanotype on turtle shell. 
“Lonesome George” is from the ongoing project “Endlings,” that is a mixed media exploration of species loss with light sensitive materials. An Endling is the last known individual of a species. Once that endling dies that species goes extinct. The subject is often given a human name and mourned publicly. Lonesome George was a male Pinta Island tortoise and lived for appx. 102 years in the Galapagos.

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This is a cyanotype print on slate stone. For this print I collaborated with a mining company that permits me to visit their quarries to find suitable slates for printing. The photographs printed on the slates capture the industrial landscapes of mining sites, showcasing massive machines like crushers that grind slates and other stones, along with intricate conveyor belt systems. This underlines the conceptual link - these stones would have become victims of the machines.

I'm making installations with the cyanotype technique on glass (sometimes flat glass panels and sometimes kilnfired slumped glass as support).
I like to explore the contemporary human emotions. In an alchemical journey I try to transform them in moving and inspiring creations

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