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Alison Rossiter’s photographs are created without a camera on expired, vintage photo paper. The artist experiments with gelatin silver papers she collects from throughout the 20th century, making controlled marks by pouring or pooling photographic developer directly onto the surface of the paper. Dark forms emerge which often resemble mountainous landscapes or active tornados; other shapes are paired by the artist to create minimalist diptychs.
Each batch of gelatin silver paper, such as Eastman Royal Bromide, which expired in 1919, or Nepera- Velox, which expired in 1906, possesses unique qualities, depending on its particular color, surface, condition and age. Utilizing her experience in conserving photographs, Ms. Rossiter reacts to these variables and manipulates the interaction of paper and developer by hand, paying tribute to the intrinsic qualities of photographic materials and reintroducing unpredictability into a process which is now commonly digitized.
“Five years ago, I thought that I could no longer buy sheet film for a 5 x 7 camera. Fortunately, I was mistaken, but my momentary panic prompted a massive search for discontinued gelatin silver materials. Photography, as I know it, is disappearing.”
Alison Rossiters photographs continue my excitement in researching work which is created as tangible, material objects. Displayed and exhibited as beautiful in their final output these unique prints are equally as beautiful and physical as Susan Derges. The process involves the hands of the creator, a craft, a physical involvement in the process, not a depression of a button which then automates an image making process. The variables involved in the creation of these prints depend on the speed, control and hand of the photographer.
Use the categories to filter between Artist research collectively or individually, process related research or my theoretical ideas and books which have support and inspired..