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Birgit BlythGrid. No 6 (Contemporary Framed Gestural Lattice Motif Painting in Neutral tone)2009
2009
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About the Item
Grid No.6, 2009 (Contemporary Framed Abstract Grid in Neutral Shades Black & Coffee) by Birgit Blyth
40" X 25" paper
vertical chromoskedesic monoprint
44 x 29 inches framed, custom frame with black wood molding and anti-reflective glass
This contemporary, abstract style chromoskedasic monoprint was created by experimental photographer, Birgit Blyth. Without the use of a camera, the artist produced this chromoskedasic image by applying the photographic chemicals to black and white photo pager and exposing it to light. The variety of caramel, toffee, brown and black tones is determined by the different chemicals used and the amount of time they are exposed to light. Here, the artist paints with the photographic materials in a gestural, linear motion. Beautiful hues of coffee, caramel, brown, grey, and black intersect to create unique abstract, intersecting grid patterns that resembles a basket weave motif. The photograph is complimented with a black metal frame with non-glare glass. It is equipped with sturdy wire on the back for instant and professional quality hanging.
About the artist and work:
Birgit Blyth is one of our most innovative and prolific photographers who works in a darkroom yet uses no camera! Blyth has been experimenting with a technique known as Chromoskedasic painting since the early ‘90s and variations on this concept have been shown at the gallery for the last 20 years. The unusual process involves the use of silver particles in black and white photographic paper to scatter light at different wavelengths when exposed. A chemist of sorts, Blyth demonstrates a thorough knowledge of how the various photographic chemicals will react when applied to paper and exposed. Each work is unique with palettes that resonate brilliant tonalities of brown, green, black, and purple. Using this technique, Blyth creates abstract crosshatching grids and most recently has developed a more gestural series of 20 x 16 inch chromoskedasic paintings that explores the ethereal qualities made possible by the unconventional material. Birgit Blyth succeeds at keeping her work fresh and cutting-edge using analog methods that are being quickly replaced elsewhere with digital technology.
Though Birgit Blyth began her photographic career using conventional photographic methods, she quickly became more interested in alternative processes. In the mid 1990’s a colleague showed her an article in Scientific American and it was here that she first discovered the technique called “chromoskedasic” painting, which would eventually lead her to fully finding her voice as a photographer.
Blyth had always aligned herself with and been moved by abstract expressionist painting. The series of veil paintings by post-abstract expressionist, Morris Louis, was especially inspiring to her and caused her to ask herself how she could do similar interpretations photographically. In “chromoskedasic” painting, she found the answers and would begin on a new path in her artwork.
The term “chromoskedasic” is derived from Greek roots meaning color by light scattering. Developed by a photographer named Dr. Dominic Man-Kit Lam, this process exploits the capability of silver particles in black and white photographic paper to “scatter” light at different wavelengths when exposed to light and chemicals. In her mastery of this photochemical drawing process, Blyth has painted lush washes of color into her own “Veil Series;” she has envisioned landscapes, both rural and urban, with melting swirls and marbled colors into rich palettes of toffee and lead. She has used this essentially experimental process to help her “see” the world around her. Blyth says she continues to be fascinated by the process because it requires “a combination of discipline, experimentation, and imagination, making possible a wonderful balance between control and surprise.”
Because the chromoskedasic work is all analog, Blyth spends much of her studio time in the darkroom, which has become a rarity in the current world of digital photography. She does however, continue her preference for experimentation in numerous directions, even employing aspects of the digital age – this exhibit will also feature a new series of pieces created with the now defunct but much loved SX-70 polaroid camera, scanned and archivally printed on 24” x 24” fine cotton rag paper.
Whatever the process, Blyth’s work is, as the painter and poet, Peter Sacks noted, a blend of “precision and mystery, of articulation and atmosphere.” Her images leave us with the feeling of ongoing action despite the apparent stillness; of qualities both dreamy and stark as light hits a stand of birch trees in a valley or a group of buildings in New York City. As Morris Louis evolved a style of painting that produced a complete integration of paint and canvas, so too has Blyth, with photo paper and chemicals, created a perfect integration of method and content.
Artist CV:
Born: Kousted, Denmark
Resident in U.S.A. since 1963
Education:
Denmark and U.S.A.
Project, Inc., Cambridge MA (Photography)
DeCordova Museum School, Lincoln MA (Printmaking)
Maine Photography Workshop, Rockport ME (Photography)
Boston Museum School (Photography and Printmaking)
Member of:
Cambridge Art Association
Photographic Resource Center, Boston MA
Concord Art Association, Distinguished Artist Member since 1988
Co-founder of CAMERADA (Critique group of 6 photographers), 1978-
Shows with CAMERADA:
University Place, Cambridge, 1998
University Place, Cambridge, 1994
Cornelius Wood Gallery, Middlesex School, Concord, 1993
Concord Art Association, 1989
Juliani Gallery, MBCC, Wellesley, 1988
Newton Free Library, 1987
Cambridge Art Association, 1984
Concord Library, 1982
Project, Inc., Cambridge, 1980
Solo Shows Carrie Haddad Photographs, Hudson, NY, 2010
Group Shows:
Carroll & Sons, Boston, "Drawing Project," 2009 Carrie Haddad Gallery, Hudson, NY, 2008 Haddad Lascano Gallery, 2007 GASP (Gallery Artist Studio Projects), Brookline, MA, 2007 Welles Gallery, Lenox, MA, 2006 Concord Art Association, 2005 Higgins Art Gallery, Barnstable, MA, 2005 BF Gallery, Boston, 2005 Haddad Lascano Gallery, Gt. Barrington, MA, 2005 Cambridge Art Association (3 Person show), 2002 Concord Art Association, March, 2002
New England Photographers 2001, Danforth Museum, Framingham, 2001
Federal Reserve Bank, Boston, December 2000
Cambridge Art Association, National Invitational show, 2000
Fuller Museum, Brockton, 9th Triennial, 1999
Cambridge Art Association, members’ show (1st prize, prints), 1998
Cambridge Art Association, National Invitational show (1st prize, prints), 1998
Spazi Gallery, Housatonic MA, 1994
New England Photographers 1994, Danforth Museum, Framingham, 1994
Cambridge Art Association (Juror’s citation), 1994
Albany Center of the Arts, Albany, N.Y., 1990
Cambridge Multicultural Arts Center (4 person show), 1986
Cambridge Art Association (4 person show), 1984
Cambridge Art Association, 1983
Project, Inc., Cambridge, 1981
Cambridge Art Association, 1979
Pratt Institute, N.Y., 1979
Museum School, Boston, 1978
Project, Inc., Cambridge, 1976
Panopticon Gallery, New England Photographers, 1976
Residencies Artist Proof Studio, Johannesburg, South Africa 1996 Pinhole and alternative photography 1997 Photography and Silkscreen 1998 Photography and waterless lithography 2000 Printmaking 2004 Pinhole and alternative photography 2005 Black and white photography 2006 Alternative photography 2007 Alternative photography 2008 Alternative photography
Northern Territory University, Darwin, Australia 2001 Pinhole and alternative photography; car battery etching "Out of the Dump" Project, Guatemala City 2000 Alternative photography
Visiting Artist: 1996 School of Museum of Fine Arts, Boston; Paper making; alternative photography 2000 School of Museum of Fine Arts, Boston; Chromoskedasik alternative photography 2001 Interlaken School of Art (IS 183), Stockbridge, MA; Alternative photography 2003 Berkshire Community College, Pittsfield, MA; Alternative photo processing
Publications:
The Mothers’ Book, ed. Ronnie Friedland and Carol Kort. Boston, 1981 Speaking of Galbraith, by Peggy Lamson. Boston, 1991 New Dimensions in Photo Processes, by Laura Blacklow, 4th edition, 2006
- Creator:Birgit Blyth (Danish)
- Creation Year:2009
- Dimensions:Height: 44 in (111.76 cm)Width: 29 in (73.66 cm)Depth: 1.5 in (3.81 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Hudson, NY
- Reference Number:1stDibs: LU2274203422
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Birgit Blyth is one of our most innovative and prolific photographers who works in a darkroom yet uses no camera! Blyth has been experimenting with a technique known as Chromoskedasic painting since the early ‘90s and variations on this concept have been shown at the gallery for the last 20 years. The unusual process involves the use of silver particles in black and white photographic paper to scatter light at different wavelengths when exposed. A chemist of sorts, Blyth demonstrates a thorough knowledge of how the various photographic chemicals will react when applied to paper and exposed. Each work is unique with palettes that resonate brilliant tonalities of brown, green, black, and purple. Using this technique, Blyth creates abstract crosshatching grids and most recently has developed a more gestural series of 20 x 16 inch chromoskedasic paintings that explores the ethereal qualities made possible by the unconventional material. Birgit Blyth succeeds at keeping her work fresh and cutting-edge using analog methods that are being quickly replaced elsewhere with digital technology.
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About the artist and work:
Birgit Blyth is one of our most innovative and prolific photographers who works in a darkroom yet uses no camera! Blyth has been experimenting with a technique known as Chromoskedasic painting since the early ‘90s and variations on this concept have been shown at the gallery for the last 20 years. The unusual process involves the use of silver particles in black and white photographic paper to scatter light at different wavelengths when exposed. A chemist of sorts, Blyth demonstrates a thorough knowledge of how the various photographic chemicals will react when applied to paper and exposed. Each work is unique with palettes that resonate brilliant tonalities of brown, green, black, and purple. Using this technique, Blyth creates abstract crosshatching grids and most recently has developed a more gestural series of 20 x 16 inch chromoskedasic paintings that explores the ethereal qualities made possible by the unconventional material. Birgit Blyth succeeds at keeping her work fresh and cutting-edge using analog methods that are being quickly replaced elsewhere with digital technology.
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