Marie Craig

"Newnes Oven 3", contemporary, leaves, blue, cyanotype, photograph

2016

Marie Craig's "Sign City Galore" is an original deep blue photograph of an old buildings obscured by leaves. This piece was created using cyanotype, an early photographic process whi...

By toning cyanotypes, using chemicals that turn the deep blue images to yellow, Craig's photographs fade and begin to disappear. Craig is curious about what happens when she stops the process at various stages, and when she lets the images ‘evaporate’ completely. Nothing lasts forever. Ferns are some of the oldest plants on earth. Ferns embody resilience. Many forms have come and gone since they first appeared on the planet; 10,000 species exist today, in tropical, temperate and arctic regions. White mat, framed behind glass in white wood frame, 14 x 17 inches Marie Craig’s photography considers objects that were once imbued with life but have since been abandoned. Juncture, Craig’s latest series, alludes to a turning point, the moment where a choice made profoundly alters the trajectory of what follows, whether evident at the time or not. She uses cyanotype, because in this early photographic process choice and chance factor equally into the outcome of each piece. Craig’s layered photographs...

By toning cyanotypes, using chemicals that turn the deep blue images to yellow, Craig's photographs fade and begin to disappear. Craig is curious about what happens when she stops the process at various stages, and when she lets the images ‘evaporate’ completely. Nothing lasts forever. The Wollemi Pine, thought to be extinct, was known only from 200-million-year-old fossils until 1994, when the 100 ft trees were discovered living happily in the impenetrable forests of New South Wales. The personification of longevity and adaptability, this beautiful tree is critically endangered. White mat, framed behind glass in white wood frame, 14 x 17 inches Marie Craig’s photography considers objects that were once imbued with life but have since been abandoned. Juncture, Craig’s latest series, alludes to a turning point, the moment where a choice made profoundly alters the trajectory of what follows, whether evident at the time or not. She uses cyanotype, because in this early photographic process choice and chance factor equally into the outcome of each piece. Craig’s layered photographs...

By toning cyanotypes, using chemicals that turn the deep blue images to yellow, Craig's photographs fade and begin to disappear. Craig is curious about what happens when she stops the process at various stages, and when she lets the images ‘evaporate’ completely. Nothing lasts forever. Blue Gum trees, native to Australia, have survived for millennia by adapting and thriving in a climate where wildfires are common. Now invasive in many parts of the world, this 'gasoline tree' is a dangerous fire hazard, especially in the face of climate change, which is expected to make wildfires more common. White mat, framed behind glass in white wood frame, 14 x 17 inches Marie Craig’s photography considers objects that were once imbued with life but have since been abandoned. Juncture, Craig’s latest series, alludes to a turning point, the moment where a choice made profoundly alters the trajectory of what follows, whether evident at the time or not. She uses cyanotype, because in this early photographic process choice and chance factor equally into the outcome of each piece. Craig’s layered photographs...

Marie Craig's "Dilexit 4" is an original deep blue photograph of an old cathedral with superimposed leaves and branches. This piece was created using cyanotype, an early photographic...

Marie Craig's 'Knotweed’ is an original deep blue photograph of leaves and branches of the Japanese Knotweed plant. This piece was created using cyanotype, an early photographic proc...

“Ink Stories”, which was introduced at Nyari’s very first solo gallery exhibit, consists of large-scale nude photographs that explore the concept of self-identity and female empowerment...

“Ink Stories”, which was introduced at Nyari’s very first solo gallery exhibit, consists of large-scale nude photographs that explore the concept of self-identity and female empowerm...

THE FLOW OF LIGHT UNDERWATER 2019 Being fascinated with light and water led me to explore how light travels in the sea - often caught on the backs of fish as they dart and swerve int...

It's really majestic piece. It's grand in size and its got a very beautiful and impressive contrast in shades. This piece is something very special... two Luminograms in one work of...

ATO>MIC #15, 2020 Unique Gelatin Silver Print/ Luminogram and Photogram technique, Hand Printed on tea infused fibre based paper, Custom Framed: museum mount-board with antireflective UV protective art glass in dark brown lacquered hardwood frame, /hand made in UK/ 18 x 23 cm 40.5 x 36 cm (Framed) Unique Series: ATO>MIC Signed and dated in pencil on verso Provided with the Certificate of Authenticity Instead of using carving...

ATO>MIC #3, 2020 Unique Gelatin Silver Print/ Luminogram and Photogram technique, Printed on tea infused fibre based paper, Custom Framed: museum mount-board with antireflective UV protective art glass in dark brown lacquered hardwood frame, /hand made in UK/ 23 x 18 cm (image print) 40.5 x 36 cm (Framed) Unique Series: ATO>MIC Signed and dated in pencil on verso Provided with the Certificate of Authenticity “The ATO>MIC work started as an attempt to replicate the idea behind still life painting - where you are trying to reproduce the image of solid looking things, things that could be on a shelf. So, I wanted to try doing that with just using light instead of paints - however I soon started to see the similarities with Harold Edgerton’s famous atomic explosion photos and how the scale of my work could be switched between small items on a shelf to enormous atomic explosions. That is the reason behind the strange title ATO>MIC - where the “>” is a kind of link between larger and smaller scales, between the two influencing ideas.” – Mike G Jackson The images (from the ATO>MIC series) may be reminiscent of the first milliseconds of atomic bomb explosions captured by Harold Edgerton's Rapatronic camera in the early 1950s but also visualise the thought of Maholy-Nagy’s bold visions in the Bauhaus’s movement toward the idea of the Gesamtkunstwerk, or “total work of art.” The 3D concepts that were first expanded in the same art movement by El Lissitzky a hundred years ago, are also explored here by Jackson’s drowned thin line within the third of the image. In his vision, the line reflects a shelf with the object on top, by adding the weight to it, the gravity pushing them down. Or maybe the thin line is just the horizon, where the enormous atomic blast took place…? Beyond these flat forms of two dimensional ‘lumino-graphic’ works on paper, the purest form of photography (‘light drawing’) lays a visible path to three-dimensional imaginary world, realised in precise composition, rhythm and warm earthy tones of these works. It’s up to the viewer to decide what they prefer to see and take with them. As Wassily Kandinsky once said; “Imagination is what allows your mind to discover.” About the Artist: Michael G Jackson...