abandon photography's iconic "organs"— camera and lens —to work
directly with light-sensitive paper, chemistry, and time. Using acrylic, soap, tape, and brushes as both resist and "scalpel," the artist makes chemigrams where developer migrates through
emulsion like veins, corroding and crystallizing into irreversibly "scabbed" surfaces.
abandon photography's iconic "organs"— camera and lens —to work
directly with light-sensitive paper, chemistry, and time. Using acrylic, soap, tape, and brushes as both resist and "scalpel," the artist makes chemigrams where developer migrates through
emulsion like veins, corroding and crystallizing into irreversibly "scabbed" surfaces.
abandon photography's iconic "organs"— camera and lens —to work
directly with light-sensitive paper, chemistry, and time. Using acrylic, soap, tape, and brushes as both resist and "scalpel," the artist makes chemigrams where developer migrates through
emulsion like veins, corroding and crystallizing into irreversibly "scabbed" surfaces.
abandon photography's iconic "organs"— camera and lens —to work
directly with light-sensitive paper, chemistry, and time. Using acrylic, soap, tape, and brushes as both resist and "scalpel," the artist makes chemigrams where developer migrates through
emulsion like veins, corroding and crystallizing into irreversibly "scabbed" surfaces.
abandon photography's iconic "organs"— camera and lens —to work
directly with light-sensitive paper, chemistry, and time. Using acrylic, soap, tape, and brushes as both resist and "scalpel," the artist makes chemigrams where developer migrates through
emulsion like veins, corroding and crystallizing into irreversibly "scabbed" surfaces.
abandon photography's iconic "organs"— camera and lens —to work
directly with light-sensitive paper, chemistry, and time. Using acrylic, soap, tape, and brushes as both resist and "scalpel," the artist makes chemigrams where developer migrates through
emulsion like veins, corroding and crystallizing into irreversibly "scabbed" surfaces.
abandon photography's iconic "organs"— camera and lens —to work
directly with light-sensitive paper, chemistry, and time. Using acrylic, soap, tape, and brushes as both resist and "scalpel," the artist makes chemigrams where developer migrates through
emulsion like veins, corroding and crystallizing into irreversibly "scabbed" surfaces.
abandon photography's iconic "organs"— camera and lens —to work
directly with light-sensitive paper, chemistry, and time. Using acrylic, soap, tape, and brushes as both resist and "scalpel," the artist makes chemigrams where developer migrates through
emulsion like veins, corroding and crystallizing into irreversibly "scabbed" surfaces.
abandon photography's iconic "organs"— camera and lens —to work
directly with light-sensitive paper, chemistry, and time. Using acrylic, soap, tape, and brushes as both resist and "scalpel," the artist makes chemigrams where developer migrates through
emulsion like veins, corroding and crystallizing into irreversibly "scabbed" surfaces.
abandon photography's iconic "organs"— camera and lens —to work
directly with light-sensitive paper, chemistry, and time. Using acrylic, soap, tape, and brushes as both resist and "scalpel," the artist makes chemigrams where developer migrates through
emulsion like veins, corroding and crystallizing into irreversibly "scabbed" surfaces.
abandon photography's iconic "organs"— camera and lens —to work
directly with light-sensitive paper, chemistry, and time. Using acrylic, soap, tape, and brushes as both resist and "scalpel," the artist makes chemigrams where developer migrates through
emulsion like veins, corroding and crystallizing into irreversibly "scabbed" surfaces.
abandon photography's iconic "organs"— camera and lens —to work
directly with light-sensitive paper, chemistry, and time. Using acrylic, soap, tape, and brushes as both resist and "scalpel," the artist makes chemigrams where developer migrates through
emulsion like veins, corroding and crystallizing into irreversibly "scabbed" surfaces.
abandon photography's iconic "organs"— camera and lens —to work
directly with light-sensitive paper, chemistry, and time. Using acrylic, soap, tape, and brushes as both resist and "scalpel," the artist makes chemigrams where developer migrates through
emulsion like veins, corroding and crystallizing into irreversibly "scabbed" surfaces.
abandon photography's iconic "organs"— camera and lens —to work
directly with light-sensitive paper, chemistry, and time. Using acrylic, soap, tape, and brushes as both resist and "scalpel," the artist makes chemigrams where developer migrates through
emulsion like veins, corroding and crystallizing into irreversibly "scabbed" surfaces.
abandon photography's iconic "organs"— camera and lens —to work
directly with light-sensitive paper, chemistry, and time. Using acrylic, soap, tape, and brushes as both resist and "scalpel," the artist makes chemigrams where developer migrates through
emulsion like veins, corroding and crystallizing into irreversibly "scabbed" surfaces.
abandon photography's iconic "organs"— camera and lens —to work
directly with light-sensitive paper, chemistry, and time. Using acrylic, soap, tape, and brushes as both resist and "scalpel," the artist makes chemigrams where developer migrates through
emulsion like veins, corroding and crystallizing into irreversibly "scabbed" surfaces.
abandon photography's iconic "organs"— camera and lens —to work
directly with light-sensitive paper, chemistry, and time. Using acrylic, soap, tape, and brushes as both resist and "scalpel," the artist makes chemigrams where developer migrates through
emulsion like veins, corroding and crystallizing into irreversibly "scabbed" surfaces.
abandon photography's iconic "organs"— camera and lens —to work
directly with light-sensitive paper, chemistry, and time. Using acrylic, soap, tape, and brushes as both resist and "scalpel," the artist makes chemigrams where developer migrates through
emulsion like veins, corroding and crystallizing into irreversibly "scabbed" surfaces.
abandon photography's iconic "organs"— camera and lens —to work
directly with light-sensitive paper, chemistry, and time. Using acrylic, soap, tape, and brushes as both resist and "scalpel," the artist makes chemigrams where developer migrates through
emulsion like veins, corroding and crystallizing into irreversibly "scabbed" surfaces.