Nor here nor there
Extending on ideas I had explored around 'process' from previous years, I looked to trying it out in a new medium, through cyanotypes. This has a basic step-by-step method but also requires following specific conditions for it to work.
I experimented with fabric and various kinds of paper to see how they would affect the image, which at times resulted in nothing appearing at all.
While dealing with the issues of authorship and control there was a reliance upon unpredictable environments including the weather to be able to form images, as well as the time of day, where the 'shifts' could actually become apparent and elongate different parts of the objects due to the angle at which the sunlight would hit them. I realised that this shift came from the object obscuring itself, but it also changed nothing of itself while it was exposed onto the surface. It was these shifts that led to an exploration into the relationship between the 'body' of the object and the 'image', particularly examining when the shadow or the opacity of the object introduced an absence-presence of the void, that in turn resulted in the final work.