Technically, the work falls into two areas: the first is traditional silver gelatin, B&W photography using a variety of camera formats. The second area is color, in which the artist works with ‘image transfer’ technique that utilizes archival, pigmented inks. The technique of using pigments as the basis printing of photographic images is an old one, going back to the 19th Century. Many contemporary photographers utilize a modern version that is based on the transfer of laser prints or color Xeroxes. The technique used for printing the color images in this exhibition is unique in that it employs archival, pigmented inkjet images which have a finer resolution and greater permanence and stability than laser prints. These are transferred into an acrylic matrix to create color prints with a fresco-like surface as well as enormous archival stability. Pigment embedded in an adhesive matrix has been the basis of painting from the Paleolithic to the modern era. Many materials have been found to produce satisfactory results from egg yolks, to linseed oil, vegetable gum, milk casein and today, acrylic polymers.
This particular transfer technique, possible by an “adhesion problem”, is associated with a particular commercial inkjet paper that has since been “remedied” by the manufacturer. There is no replacement available and at present no other technique or material that will allow this transfer type of inkjet-based images.