David Scheinmann

David Scheinmann is a photogrpher based in London. He has experimented using different techniques of photography. One of the briefs he set himself was to try to take photography out of the usual exhibition formats, to make individual pieces rather than sets or groups of work the same size in the same frame. He wanted to break the uniformity. Hand coating liquid photographic emulsions has certainly been one of the central elements in the development of his approach.

One of the problems he has encountered using liquid emulsion is using the material, Japanese paper, handmade with lengths of silk pressed into the pulp. After going through the wash solutions the silk shrank with the paper becoming knotted. However, he was happy with the effect.

Scheinmann likes to coat the emulsion onto the fabric with a brush as he likes the idea of being able to see the brush strokes, keeping them as part of the image. When working with portraits, he likes the idea of faces emerging from a fury of brush strokes.

Scheinmann has mixed feelings about his work.

"I feel that I produced some very good results almost by accident. I've not been able to duplicate these or to get the same base paper that I originally coated."

He tries to keep an open mind about the result, open to the possibilities that may occur.



Darcey Bussell of the Royal Ballet
Emulsion on watercolour paper

















Rachel
Emulsion on hand-made paper

Tate Liverpool

A Sense of Perspective

The exhibition deals with the 'in between' and the undefined. The display challenges our tendency to define and limit the understanding of ourselves and others. The artwork is focused on cultural, generational and artistic differences. The ideas for the exhibition have emerged from the experience of young people living in Liverpool, Helsinki, Paris and London. The display has been curated by Young Tates, bringing together young people from across Europe to consider issues of European citizenship, identity and cultural democracy.



Dexter Dalwood
Cinderella, 2008
Lithograph on paper



Michelangelo Pistoletto
Standing Man, 1962, 1982
Silkscreen on steel


Pistoletto's work reminds me of my idea to expose my photographs on to a mirror. I like how the viewer becomes part of the work. They are able to engage with the work on an active, personal level. The work will look different to each person looking at it. The illusion acts to inspire an active engagement between the viewer and the image.

First developed photographs!

These are the photographs I first developed at the beginning of the year! It is interesting to see how I have progressed throughout the year.

Ektoras Binikos

One can't look at seeing/One can't hear hearing
Sculpture, Glass, Liquid Photographic Emulsion, Polyurethane
2002

Mixed media - Liquid Light emulsion, vinyl LP and 7''single records

Melborne artist and photographer Pam Kleeman uses a process of painting liquid light emulsion directly onto a vinyl as the photographic image comes alive.

Jill Enfield

Jill Enfield has been using liquid emulsion to put images on tiles:













I have been looking at a book written by Jill Enfield, 'Photo-imaging: A Complete Visual Guide to Alternative Techniques and Processes'.




Enfield also exposes images on to watercolour paper:

Tina Maas

Tina Maas was first introduced to unconventional photography techniques by photographer Jill Enfield. In London, she continued her interest in experimenting with different media, combining photography with drawing and printmaking.

Maas specialises in liquid light emulsion processes, which she applies to decaying objects.

The series of photographs below explores an atmosphere of beauty, decay and mortality. They are inspired by Millais Pre-Raphaelite painting of 'Ophelia'. The starting point for the project was that in Pre-Raphaelite paintings, ideal feminine beauty is characterised by long flowing hair, showing eternal youth and beauty.
Photographs have been exposed to wax with the use of liquid emulsion. I like how the images depict youth and beauty in the women. Flowing hair has always been a characterisation of ideal feminine beauty, taken from Pre-Raphaelite paintings, showing eternal youth and beauty. This was Maas' starting point for the project.

Living Apart: Photographs of Apartheid by Ian Berry

90 stunning black and white photographs by Preston born Ian Berry portrays life in South Africa where segregation was institutionalised by the government, discriminating against Black and Asian people to protect the rights and privileges of the white minority. This system of segregation and prejudice was called apartheid. Berry first visited as a boy of 17 and has returned many times to record the ordinary lives of those living in extraordinary circumstances. He captured many of the country's most significant moments.

The exhibition displays some of the most powerful and iconic moments of over 40 years of South Africa's history. Images of resistance, struggle and eventual freedom are evident in this exhibition.



A young black Nanny, merely more than a child herself, looks after a baby girl for a white family.
1969



Crowds fleeing as police open fire on peaceful protesters in Sharpville, killing at least 69 and injuring 180 people.
1960

Berry was the only photographer who witnessed the initially peaceful protest at Sharpville in 1960 which later turned violent when police opened fire on crowds. His photographs which show protesters fleeing towards the camera, were subsequently used in a trail to prove the victims innocence.



A polling booth set up for referendum on whether South Africa should become a republic
1960



Johannesburg
1961



Workers bring reinforcements at wine tasting party near Paarl in the Cape
1984



Supporters climb a poster of Nelson Mandela whilst awaiting the arrival of Nelson Mandela
South Africa
1994



Johannesburg
1995

I will be attending a talk by Ian Berry about his work in South Africa and the stories behind the powerful images in this exhibition. This is on June 3 at the Internation Slavery Museum. A blog entry about the talk will soon follow!

'42' Women of Sierra Leone

An exhibition of 42 colour photographs by Lee Karen Stow. The title of the exhibition refers to the life expectancy of women in Sierra Leone, a showing figure which inspired Stow to embark on the project when she reached the same age. The images depict the women and their daily lives at home, at work and with their families.

During the project Stow turned 42 and looked at her life expectancy as a women living in the West being 82, nearly double that of women in Sierra Leone. Stow saw this as a violation of human rights, the right of every women everywhere to have the opportunity to lead a long, healthy and fulfilling life.

Whilst in Sierra Leon, Stow stayed with the women in their homes, living with them and making field trips, she also taught the women digital photography skills. Allowing the women to use photography either for creative expression, to advocate for change on an issue which affects them or to earn an income.

The project began as a two week workshop which has now been going on for over four years. Stow and the women are able to share skills in photography but also share skills from in life and experiences.

Here is a link to Lee Karen Stow, talking about the exhibition and the women in Sierra Leone that inspired it:

http://www.liverpoolmuseums.org.uk/ism/exhibitions/42/

This exhibition shocked me as I was ignorant to the life of women in Sierra Leone and rudely oblivious to the fact that the life expectancy of these women is only 42. Although Sierra Leone are taking positive steps to a country torn apart from a civil war that ended in 2002, many women still suffer from hardship and despair. This is evident from some of the photographs in the exhibition. Women do not have equal access to education, equal opportunities, health facilities or social freedom. Violence against women is common and female genital mutilation can result in infection and death. One in eight women die in pregnancy.

This exhibition questions the huge imbalance, and captures the inner strength, spirit and beauty of women who wake each morning with the belief that life really will get better. Although they suffer, the women do not let this get them down, remaining positive, full of life and happiness. This is shown from some photographs in the exhibition.



From a basket carried on her head, this beautiful young women sells charcoal to light the fires.