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Light Sensitive

Art Intersection presents Light Sensitive, our thirteenth, international juried exhibition of images created using traditional darkroom, historical, and alternative photographic processes and methods. This year we are honored to have photographer and alternative photography process artisan Kerik Kouklis jury the submitted work.

As we have seen technology trends continue to popularize digital photography on our computer displays, Light Sensitive highlights art from artists working in traditional and historical printing processes.

Light Sensitive seeks to celebrate, promote, and reaffirm the art of handcrafted prints that uniquely belong to the tradition of light sensitive creative processes. Each year we are in search for work that represents creativity, passion, and displays the beauty of these light sensitive processes.

Banner Images by Gary Baker, Jennifer Spencer, Mark Sawyer


About the Juror

Kerik Kouklis is a fine art photographer, filmmaker, and educator who specializes in creating handmade photographs and documentary films. Born and raised in California with a background in music and a 30-year career as an environmental geologist under his belt, Kerik combines a contemporary eye with 19th-century processes to produce work that is uniquely his own. Influenced by the pictorialists of the early 20th century, he makes images that can be at once calm and unsettling. Working in a variety of formats from small digital cameras up to large view cameras, Kerik uses both film and digital negatives to create his prints. Kerik’s website.


Juror Awards

With a field of around seventy fine art prints and imagery in Light Sensitive selecting the artwork to award became very challenging. After several rounds of evaluating the highly competent and artful work over the course of the exhibition the following choices were made from all of the traditional and alternative process prints in Light Sensitive

First – Marita Gootee, Lost Future, PH Encaustic Lumen Print with Mixed Media
Second – Ryan Zoghlin, Squadrons (Edition 1 of 3), Cyanotype on Glass, Mounted on Aluminum Sheet
Third – Kent Corbin, Saguaro #2 (Edition 2 of 2), Palladium Quadriptych
Juror’s Choice – Tony Celentano & Ofelia Zepeda, Crosses, Matches, and Aluminum Foil, Carbon Transfer Prints in Handmade Book

Honorable Mentions
Gary Baker, Polychrome Twilight Epiphyllum, Heliochrome Carbon Transfer
Scott T. Baxter, William Faulk, Denton, Montana (Edition 1 of 7), Platinum/Palladium
Kevin Black, A New Dawn, Kallitype on Washi Paper, Gilded
Kaden Bard Dawson, Do You Feel Safe?, Cyanotype Mixed Media
Susan V. James, Redtail (Edition 9 of 20), Hand-Colored Copperplate Photogravure
Gene Laford, Maxwell is Cast as Cyrano de Bergerac in the Theater Guild Production of Gone with the Wind, Wet Plate Collodion
Annie Lopez, Dear Arizona, Cyanotype on Tamale Wrapper Paper, Thread, Instant Film Image
Marek Matusz, Antelope Canyon No. 5, Direct Carbon Print 
Mark Sawyer, The Fairy Circle, Tintype



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Light Sensitive

Art Intersection presents Light Sensitive, our twelfth, international juried exhibition of images created using traditional darkroom, historical, and alternative photographic processes and methods. This year we are honored to have photographer and alternative photography process artisan Elizabeth Opalenik jury the submitted work.

As we have seen technology trends continue to drive digital photography and presentation, Light Sensitive highlights art from artists working in traditional and historical printing processes.

Light Sensitive seeks to celebrate, promote, and reaffirm the art of handcrafted prints that uniquely belong to the tradition of light sensitive creative processes. Each year we are in search for work that represents creativity, passion, and displays the beauty of these light sensitive processes.

Banner images by Randall Tosh, Lynn Bierbaum, Mary Nation


Awards

Choosing awards in the diverse juried selections of this year’s Light Sensitive presents the challenge to weigh qualitative aesthetics of the presentation, with the strength of the image, and technical mastery of the process. From cyanotype to platinum to ambrotype prints, the wide gamut of techniques and presentations made a formidable task to assign awards. Presenting awards acknowledges accomplishment and excellence in presentation, image, and technique, and encourage everyone to continue to push their work through into the next level.

Congratulations to the awardees and everyone juried into Light Sensitive.

First Place – Lou McCorkle
Second Place – Marita Gootee
Third Place – William W. Fuller
Award of Excellence for Collaborative Work – Kenro Izu / Veritas Editions
Honorable Mentions – Gary Baker, Chuck Davis, Sarah S. Curley, Jon Jeffery, Annie Lopez, Marek Matusz, Alyssa McKenna, Mary A.  Nation, Cyd Peroni, Phyllis Schwartz, Fred Ullrich, Angela Franks Wells, Ryan Zoghlin


About the Juror

Elizabeth spun a map on a lazy-susan in 1968 and left home to the sound of peace marches and her mother saying, “I knew you were different from the time you were two.” She discovered photography as a metaphor for life in 1979 at the Maine Photographic Workshops and discovered passion and possibilities in Provence in 1983 where she later began her evolution as a Mordançeuse. Traveling through six continents, camera in hand, she connects life’s possibilities through teaching workshops, humanitarian projects and making art. 

“I am a photographic artist, educator and freelance photographer traveling the world with my camera and I love it. Philanthropic projects keep me grounded and connected universally.

I believe that all good photographs are self portraits and know that my many former lives manifest themselves in my images. My heart is still in my darkroom working in the Mordançage process, but I use today’s technology when appropriate to explore all the creative paths.

My photographs are collected and published internationally and all work is for sale. Mordançage images are unique, others are silver gelatin, platinum, hand painted or digitally printed in very limited editions on beautiful handmade papers.”

– Elizabeth Opalenik


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The Art of Presentation at Art Intersection

Saturday we hosted another successful, hands-on mat cutting workshop where everyone mounted and matted an image using archival methods. Mystery of mat cutting revealed.

Using the 60″ mat cutter and the straight cutter we cut a sheet of 32″x40″ mat board to 11″x14″ finished size. After a little math we cut a beveled opening to fit the 8″x10″ image. Everyone went away ready to save money and expand their presentation creativity by cutting their own mats and mounting using archival method.

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