Birch Photography

large format beach photograph by Italian photographer Massimo Vitali, renowned for his grand scale topographical observations of the rites and rituals of modern leisure Cala Conta...

large format beach photograph by Italian photographer Massimo Vitali, renowned for his grand scale topographical observations of the rites and ritua...

'Rose glow' Printed on Hahnemühle photo rag Baryta 308 Gsm fine art paper, these limited edition photographs are designed to withstand the test of time, preserving the beauty and em...

Struggle teaches you a lot of things, and I am happy that I witnessed a roller coaster ride. The journey has improved me as a person and made me more mature. Life is like a roller co...

Pete Kasprzak’s passion for city night life is expressed in his vibrant urban artworks. Kasprzak’s artworks express energy and life with animated brush strokes, capturing the energy ...

Struggle teaches you a lot of things, and I am happy that I witnessed a roller coaster ride. The journey has improved me as a person and made me more mature. Life is like a roller co...

large format original photograph of the iconic Mediterranean white beaches of Rosignano in Tuscany by iconic Italian photographer Massimo Vitali, renowned for his grand scale topographical observations of beach rites and rituals of modern leisure From Massimo Vitali's body of works captured along Italy's (almost deserted) beaches in the pandemic summer of 2020 Spiagge Bianche...

Pete Kasprzak’s passion for city life is expressed in his dynamic urban artworks. Kasprzak’s artworks express energy and life with animated brush strokes. He adds dynamic movement an...

These yellow monotypes look like block prints or screen prints but are actually lensless photographs. They began as blue cyanotypes and were turned yellow through a process called "t...

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...

Stretching Landscapes Series: The Last Lost Continent (Nice) Set of 3 works Work 1: Acrylic on canvas Work 2: Photography in cotton paper premium quality 300gr Work 3: Acrylic on can...

Experimental photographic work by Kim Frohsin, who is often associated with the Bay Area Figurative movement, began exhibiting in the San Francisco Bay Area in the early 1990s, and in 1993 was included with Nathan Olivera, Manuel Neri and Stephen De Staebler in an exhibit of "Four Figures from the Bay." With Wayne Thiebaud as the juror, she won the California Society of Printmakers' Award in 1996, and the following year exhibited at the de Young Museum in San Francisco in "Bay Area Art: The Morgan Flagg Collection." Frohsin is a multidisciplinary visual artist, who is at home with painting, drawing, monoprintIng, and mixed media. Her subjects include the female figure as well as mundane ''objects" and series — including ‘Cautionary Tales’ and ‘Portraits of Numbers’— that attract her attention, and which are most often autobiographical in nature. This mixed media work is created from deconstructed pinhole photographs...