Africa’s Animal, 40,01cm x 50cm, Chemigram, Giclée, Edition of 10
Chaotic Creation, 40,05cm x 50cm, Chemigram, Giclée, Edition of 25
Desert Glimmer, 40,17cm x 50cm, Chemigram, Giclée, Edition of 15
Distorted Dancing Sisters, 38,89cm x 50cm, Chemigram, Giclée
Sand Storm, 40,09cm x 50cm, Chemigram, Giclée. Edition of 25
Smoke & Sinners, 37,52cm x 50cm, Chemigram, Giclée, Edition of 25
Stargate, 39,31 x 50cm, Chemigram, Giclée, Edition of 15
The Androgynous Universe, 40,07cm x 50cm, Chemigram, Giclée, Edition of 25
Wise Wonders, 40,17cm x 50cm, Chemigram, Giclée, Edition of 10
I believe that conscious forces come to light when we choose to unconsciously or randomly create with the universe, and, thus, ‘Creative Concussion’ was born.
As a visual artist exploring alternative photographic processes, this body of work focuses on the chemigram process, a cameraless art form that creates a unique interplay between light, chemistry, and creativity. Through this method, I aim to challenge the conventions of traditional photography and embrace the element of unpredictability in the creative process. My inspiration for this series stems from a personal experience with a concussion, prompting me to explore themes of change and impermanence.
Each piece examines contrasts: light versus dark, order versus chaos, intention versus spontaneity. The final works resemble distorted faces, fragmented figures, and familiar forms not quite fully realised, almost dreamlike and surreal. These forms reflect my concussion symptoms, capturing a sense of disorientation and fluidity. Through this series, viewers are invited to reflect on their own experiences with change and memory. By embracing both the beauty and chaos of the process, I invite the audience on a journey through time, memory, and transformation whilst rekindling a sense of childlike wonder.
PROCESS: “Creative Concussion” was made by using varnish, glue, and honey as resists on black and white photographic paper. These resists act like a mask, blocking the chemicals from reacting with the paper. After the resist dries, the paper is exposed to light and then dipped in trays of developer, stop bath, and fixer. The paper is usually passed through these chemicals multiple times, sometimes alternating to create different effects. The developer darkens areas, while the fixer lightens them.
The process takes time because the sticky resists like glue and varnish aren’t fully resistant to the chemicals. Over time, they begin to lift off in tiny patches or “cells.” Depending on how thickly the resist was applied, it dissolves slowly with each dip in the chemical trays, lifting in distinct, controlled areas.
This gradual breakdown of the glue and varnish forms the final image, with each round of immersion slowly lifting the resist in specific sections. It’s a methodical process, often requiring multiple passes through the chemistry trays. This can take anywhere from several hours to days, depending on the complexity of the desired effect. This is a painstaking, slow process where careful observation is required.