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Edward BatemanLeaf No. 112017
2017
About the Item
Our world is immersed in light, but its physical essence is chemical. Digital photographic processes can record that illumination, but they cannot touch the wet, chemical essence which makes up life. The images in Reversing Photosynthesis were made photographically without the direct interaction of light or lenses.
Leaves absorb sunlight and convert it to chemical energy which they store in their structures. Removed from plants and trees, these leaves began a slow process of death. They were placed in direct contact with light sensitive photographic paper and left in total darkness for days to months to document this change. As they broke down, their stored light would slowly leak out to expose the paper and form images. This paper was then developed like traditional chemical prints.
This series represents a return to my roots and to those of photography; one that reflects my own aging process and mortality. For me, this is perhaps a way to hang onto the fleeting substance of life.
--Edward Bateman 2020
- Creator:Edward Bateman (1962)
- Creation Year:2017
- Dimensions:Height: 20 in (50.8 cm)Width: 20 in (50.8 cm)
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:
- Gallery Location:Sante Fe, NM
- Reference Number:1stDibs: LU13426545372
Edward Bateman
Edward Bateman is an artist and professor at the University of Utah. Through constructed and often anachronistic imagery, he creates alleged historical artifacts that examine our belief in the photograph as a reliable witness. In 2009, Nazraeli Press released a signed and numbered book of his work titled Mechanical Brides of the Uncanny, that explores 19th-century automatons as a metaphor for the camera, stating, "For the first time in human existence, objects of our own creation were looking back at us.” Bateman and his work have been included in the third edition of Seizing the Light: A Social and Aesthetic History of Photography by Robert Hirsch. His work has been shown internationally in over 25 countries and is included in the collections of The Victoria and Albert Museum, The Museum of Fine Arts Houston and Getty Research, among others.
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