Chris McCaw
Sunburned #446 (Sierra), 2010
Unique Silver Gelatin Paper Negative, framed in wood with 8 ply white mat and museum glass
8 x 10 in.
14 x 16 x .75 in. framed
Hand-signed, titled, and dated by the artist in pencil on the verso
Includes certificate of authenticity
In this process the sun burns its path onto the light sensitive negative. After hours of exposure, the sky, as a result of the extremely intense light exposure, reacts in an effect called solarization- a natural reversal of tonality through over exposure. The resulting negative literally has a burnt hole in it with the landscape in complete reversal. The subject of the photograph (the sun) has transcended the idea that a photograph is simple a representation of reality, and has physically come through the lens and put it’s hand onto the final piece. This is aprocess of creation and destruction, all happening within the the camera.
The historic references to photography’s beginnings are also apparent in this work. Talbot’s use of paper negatives come to mind. Also the worlds earliest surviving photograph made by Niepce was an 8 hour long exposure, describing the movement of the sun-the buildings being lit by 2 directions showing morning and afternoon light in the same image. Then there is the use of vintage papers which some of the worlds most memorable work was printed on. There is this vague nostalgia for me as I destroy these classic papers that represent some of the highest points in traditional black and white image making. I know for instance, I have burned the same vintage of paper that Misrach used to use in his split toned photographs of the desert at night until Agfa changed the formulation. Also some Dupont papers that were favorites of many photographers back in the 60’s and 70’s.
