The photographs in
the series, The Shadow Catcher’s Daughter, balance on the fine line between reality and the dream. I use
self-portraiture to articulate personal narratives, which are often both nightmare
and fantasy. Human and animal forms interact in unexpected ways to symbolize
discoveries and conflicts in my intimate relationships. I use the blue
cyanotype process to suggest an alternative space, such as a dream or memory.
This historic process obscures the subjects’ location in time and creates a
backdrop for archetypal universal symbols. These images are toned with tea and
wine to produce a range of additional warmer tones, making them seem more
natural. I choose these substances for the acidic effect on the chemistry, as
well as their influence on communication and memory. Although photography is
normally considered a medium that represents the present, visible world, in my
work I attempt to make visual what cannot be seen in place or time.
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