During warmer months, I collect plants from forest preserves and local nurseries to incorporate into my work.  With no access to a darkroom, I turned to cyanotypes-a 19th-century camera-less photographic process that uses UV light to create vibrant blue images. I experimented with the traditional method on watercolor paper, introducing additional elements like water, bubbles, vinegar, and spices. 

To push the medium’s potential, I began creating cyanolumens-an iteration that involves combining cyanotype chemicals with the light sensitive emulsion on photographic paper.  Painting cyanotype chemistry onto 20+ year old photo paper added even more unpredictability to my prints.  Next I began adding film negatives onto the paper as an ode to traditional darkroom photography.  I bleached portions of prints and reworked them, creating multiple exposures.

Through this work, I embraced the improvisational nature of art making and documented the transformation of each print as it evolved.  This process-based approach explores the interplay of nature, light and experimentation.  Creating this series was a joyful and deeply gratifying experience that recentered my artistic practice on play and discovery.