Untitled (Entanglement series, #6908-2) copyright 2023 Douglas Stockdale –
When I recently learned to use an embroidery back-stitch on my cyanotype prints for one of Last Iceberg series prints, I realized that using the back-stitch on one of my recent Entanglement series cyanotypes (above) could be ideal solution to a problem I had encountered. I had found a couple of locations on the decommission WWII bombing range I am photographing where some very old rusted barbed wire was being replaced with some new wire, some barbed, some not. In the case of the above photograph, the new wire was a continuous strand that was not barbed.
I also wanted to further differentiate this new spliced wire and I thought of the earlier Last Iceberg cyanotype where I had incorporated an international distress flag color that has an orange background. Hmmmm, that orange could color could work here as well, with the red representing the past redlining practices, while the orange could represent a distress signal that the conservatives in America are still attempting to implement a contemporary, while still dangerous, version of their old redlining practices.
Which leads me to the subject of this article. I was looking at another alternative photographic exhibit and I was very intrigued by the raised knots that one artist had incorporated into her print. I think that after searching the net, she had used what is called a French knot. Which gave me an idea for how I might want to represent the barbed wire barbs in my cyanotype prints. My current practice was to use a straight stitch along a stretch of barbed wire and leave a space to reveal the photograph of the barbs. The hand-stitch cyanotype print below is probably the best example of this. As another artist has tried to coach me; perhaps the (barbs) are represented way too subtle and as an artist you have to go beyond your comfort zone (aka stop thinking like a scientist). Push yourself Douglas. LoL
So my idea is to create a different looking knot and instead of tying it off under the print, to tie it off on top of the paper and allow the loose ends to represent the extended barbs. To give this visual look a bit more three dimensionality, instead of a simple tie-off, to repeat the tie-off a couple of times before snipping it off. For this print above, I have used an ominous black thread to represent the rusted barbs. I also have copper-brown thread (actually looks like rust) that I may experiment with next and maybe try the red thread for the barbs. These additional colors will also add some visual variety to my cyanotypes for this series as well.
So now to re-examine some earlier hand-sewn cyanotypes as which might benefit from implementing this concept. The good news if it does not work, it’s relatively easy to cut and remove the thread, or worst case, make another cyanotype of the same contact negative and start over. The only pause I have is that I had planned on making a gallery submission with these hand-sewn cyanotype prints in the coming week, so I will put that on hold while I tweak some prints with my new non-knot. And I might experiment with the French knot idea…as I have an idea of something else to experiment with. So I keep pushing this embroider envelop; Cool! I am having fun…
Untitled (Entanglement series, #6908-2) copyright 2023, hand-sewn cyanotype image is 9 x 9″ on a 11 x 14″ sheet of Revere Platinum hot press cotton rag.
Make every day an Earth Day,
Doug
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Book development workshop:
Update: Developing a Creative Photo Book, on Zoom with SouthEast Center for Photography (SEC4P), January 20 & 21st and 27th, & 28th, 2024, from 10 AM – 1 PM, Eastern Standard Time (EST).
Artist book available again:
The Flow of Light Brushes the Shadow, an artist book from Singular Images Press, 2022, $60.00 (CA sales tax for those residing in the USA) plus shipping expenses. Message me douglas.stockdale.artist@gmail.com
Singular Images 