Since 2018 I have explored cyanotype almost exclusively in my art practice and have organized and facilitated many successful workshops in Calgary and Edmonton for children, youth, and adults.
My art practice now encompasses two intersecting streams. If you are interested in viewing some of my more theoretical work, you can find examples on Instagram at karenjmacdonald.
My interest in cyanotype began when I was a participant in the People’s Poetry Festival at Loft 112 in Calgary,Alberta. The festival paired poets and artists, where artists created visual images inspired by selected poems.
I chose a poem by Micheline Maylor titled Reconstitute which spoke of the ocean, whales, albatross, sea turtles, and polyethylene.
After reading the poem, my intuitive impulse was to explore the imagery through cyanotype, a photographic process popularized by Anna Atkins in 1843. Atkins, a botanist, documented her findings of seaweed, algae, and ferns using the cyanotype photogram process. Many cyanotype artists create botanical photograms and water-oriented images possibly due to Atkins’ influence and to the elemental nature of the image making process itself. The process relies on Ferric Ammonium Citrate and Potassium Ferricyanide which are organic iron salts that, when combined, are chemically altered when exposed to sunlight.
After ultraviolet light exposure, the chemically treated substrate is submerged in water to develop the image, revealing the characteristic Prussian blue colour.
I’m continually captivated by the ghostly, ethereal, x-ray-like quality of the impressions created by this process. With every intention of progressing on my cyanotype path, I invite you to share the experience with me by participating in a workshop, attending markets where I’ll be exhibiting my work for purchase, or by simply perusing the Deep Blue Cyanotype webpage.
