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RECENT AND UNVAULTED
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Recent Photographic Works
This series of “recent” photographs was created in the darkroom by placing plants and botanicals on photographic paper and exposing them to light. After traditional development with black and white chemistry, the resulting prints are altered further through chemical processes to produce the finished images. The title of the series, Fixing the Wind, has a double meaning that helps explain both the print and the process. In one sense, these photographs produce a unique and unforeseen vision of nature, fixing a peculiar and dreamlike environment for observation and contemplation. And in another sense, the process to produce these images can be extraordinarily finicky and somewhat uncertain. As photographic silver and darkroom chemistry interact, the results can be as unpredictable as the wind.
Unvaulted Photographic Works
These “unvaulted” prints are a type of traditional photographic enlargement, but instead of film as the source, they are created from U.S. currency. The product of my initial process appears to be somewhat like a photogram, with inverted tones. Later, each print is treated with another unique chemical process that allows for the literal removal of dark emulsion from the print. The resulting photograph is a rather mysterious and eerie combination of visuals, comparing and contrasting typography and illustration with historical undercurrents.
What I enjoy about these photographs are their intricate designs, beautiful tones and unusually wedded imagery. However, they may be subject to interpretation based upon the context of location and time frame in which they are viewed. It might be difficult to separate their content from their loaded iconography. Perhaps they may be perceived as an allegory about the pursuit of riches or perhaps reflections on our national heritage. But in time, their spirit may transition along with the state of our nation.
Darrell Kincer is an Associate Professor of Art at Georgetown College, teaching courses in photography and graphic design. His research centers on the intersection of digital and analog photographic methods, while his personal work tends to utilize photograms and chemical processes to create painterly interpretations of the landscape and found objects.
This series of “recent” photographs was created in the darkroom by placing plants and botanicals on photographic paper and exposing them to light. After traditional development with black and white chemistry, the resulting prints are altered further through chemical processes to produce the finished images. The title of the series, Fixing the Wind, has a double meaning that helps explain both the print and the process. In one sense, these photographs produce a unique and unforeseen vision of nature, fixing a peculiar and dreamlike environment for observation and contemplation. And in another sense, the process to produce these images can be extraordinarily finicky and somewhat uncertain. As photographic silver and darkroom chemistry interact, the results can be as unpredictable as the wind.
Unvaulted Photographic Works
These “unvaulted” prints are a type of traditional photographic enlargement, but instead of film as the source, they are created from U.S. currency. The product of my initial process appears to be somewhat like a photogram, with inverted tones. Later, each print is treated with another unique chemical process that allows for the literal removal of dark emulsion from the print. The resulting photograph is a rather mysterious and eerie combination of visuals, comparing and contrasting typography and illustration with historical undercurrents.
What I enjoy about these photographs are their intricate designs, beautiful tones and unusually wedded imagery. However, they may be subject to interpretation based upon the context of location and time frame in which they are viewed. It might be difficult to separate their content from their loaded iconography. Perhaps they may be perceived as an allegory about the pursuit of riches or perhaps reflections on our national heritage. But in time, their spirit may transition along with the state of our nation.
Darrell Kincer is an Associate Professor of Art at Georgetown College, teaching courses in photography and graphic design. His research centers on the intersection of digital and analog photographic methods, while his personal work tends to utilize photograms and chemical processes to create painterly interpretations of the landscape and found objects.
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