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
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.”
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.