Visual & Tactile Adventure

Angela Chalmers ‘On Landscape’ Online Magazine
16 December 2018

A central feature of my art practice is my interest in history and humanity. The landscape is often used as a backdrop to express an environment in a contextual way, or simply as an imaginary space, such as when I construct a composition of plant life on my light-sensitive paper. I have always used an experimental approach as my starting point. On reflection, I have recognised this from my early days as a mixed-media painter through to the alternative photographic images that I produce today. I find that the simple method of utilising camera-less photography with chemicals and sunlight fulfils the same needs and nurtures my curiosity for the historical.

The photogram allows the observer to identify familiar objects and shapes, yet offers aesthetic values that are often intriguing. I have enjoyed reading Shadow Catchers: Camera-less Photography by Martin Barnes. He brought to my attention an interesting fact that pioneer William Henry Fox Talbot continued to produce photograms, or ‘photogenic drawings’ as he would like to call them for many years even though he had discovered image-making using a camera. The book also reminded me of a quote by Talbot that totally sums up my feelings ‘It is a little bit of magic realised’.

During this year I have participated in a project called ‘Territoire-s’, which was an artistic exchange of ideas between artists from two countries. Each artist was invited to respond to his or her other respective twinned towns. The concept emerged from a long-standing relationship between the two communities of Scalby, Scarborough and Pornic, France. It resulted in a collaborative exhibition presenting new works by seven English and French artists from both towns. The exhibition launched in my hometown of Scarborough and later travelled to Pornic, which is located by the ocean in south Brittany.

When I first visited the town, I was quickly inspired by the landscape and architecture. I was drawn towards its heritage, especially the magnificent villas surrounded by fragrant pines and the quiet chapels amongst medieval streets. It was a rich source of experience and discovery. The environment was different, yet in certain ways strangely familiar. I could see why the people from both communities had forged strong ties. The two towns promote and maintain yearly social exchange visits, so therefore have valued friendships. I was experiencing a fascinating cultural artistic exchange made possible because of this collaboration. It was a unique opportunity to explore, and immerse myself within a culture and physical space outside of my normal practice.

I had travelled with many sheets of ready prepared paper and fabric to make cyanotypes. If successful, I knew these would be a starting point for my project. Many other prints were produced in my own darkroom studio, although one specific piece was exposed and developed in the studio of Brigitte Vanwynsberghe. She is a painter originally from Paris, who now lives in Pornic. It was her and fellow photographer Fabienne Alliou-Lucas who first approached me with their idea for the project whilst visiting my town with the twinning association.

With their local knowledge, they guided me to interesting places away from the obvious tourist trail. I began to explore artifacts that embrace a passing of time, such as antique lace and old ironwork. I found many traditional ornamental gates, but one in particular caught my attention. I admired its decorative form, whilst I contemplated making my largest photogram to date on a two-metre length of silk. I calculated the best time to expose, which was early afternoon the following day. It was bright sunshine when I returned and had to work quickly to stretch the material against the ironwork. I made a decision to double expose later to highlight the shrubbery that was growing close by. I often do this to create more depth – these elements were added later in my darkroom.

I also spent many hours walking along the sandy cliff edge paths set beside un-occupied holiday homes. I took notes and made photographs on everything that interested me, especially a single pine tree standing inside a high walled garden. This tree fascinated me and was the main inspiration for ‘Lone Pine’. I printed on several sheets of heavy weight watercolour paper back home using my UV lamp, and assembled it together to create an origami style sculpture. Private gardens are often seen as sanctuaries for the owner providing a sense of calm with various styles, such as regimental order with formal layouts, or bearing no boundaries with wild foliage, landscape, sea and sky. With ‘Lone Pine’ my intention was to highlight its beautiful monumental form, and its prickly character. I was delighted to sell the final artwork during the first few days of the French exhibition – a great reward of knowing that the piece remains in its place of origin.

For me, the attraction of making a photogram outdoors is the immediate response that it offers along with the unlimited possibilities of capturing various objects using natural light. The entire experience of depicting an abstract viewpoint of my surroundings becomes one of a physical engagement with my environment. It is a multi-sensory practice of wandering, looking, smelling, feeling and gathering.

A photogram can often reveal the unexpected even though careful planning and consideration towards the designed image has been implemented. There is always an element of surprise, which to me is the very essence of creative photography. Using various materials as my support the experience of making continues to be experimental and tactile – it is a handcrafted print that reveals an honest simplicity, which to me is rather exciting.