JAY BURTON TRACY | Works on Paper
twelfth dwelling, 2006
heliiogenic drawing
undeveloped iron-silver salt photoemulsion on strathmore bristol plate paper
25 x 25 inches (image) on 40 x 30-inch sheet
collection of the artist
undeveloped iron-silver salt photoemulsion on strathmore bristol plate paper
25 x 25 inches (image) on 40 x 30-inch sheet
collection of the artist
twelfth dwelling (detail), 2006
heliiogenic drawing
undeveloped iron-silver salt photoemulsion on strathmore bristol plate paper
collection of the artist
undeveloped iron-silver salt photoemulsion on strathmore bristol plate paper
collection of the artist
third dwelling, 2000
heliiogenic drawing
undeveloped iron-silver salt photoemulsion on strathmore bristol plate paper
(shown mounted in welded mild-steel and wood frame)
18 x 18 inches (image) on 22 x 22 1/2-inch sheet
collection of the artist
undeveloped iron-silver salt photoemulsion on strathmore bristol plate paper
(shown mounted in welded mild-steel and wood frame)
18 x 18 inches (image) on 22 x 22 1/2-inch sheet
collection of the artist
fourth dwelling, 2000
heliiogeic drawing
undeveloped iron-silver salt photoemulsion on strathmore bristol plate paper
(shown mounted in welded mild-steel and wood frame)
18 x 18 inches (image) on 22 x 22 1/2-inch sheet
private collection
undeveloped iron-silver salt photoemulsion on strathmore bristol plate paper
(shown mounted in welded mild-steel and wood frame)
18 x 18 inches (image) on 22 x 22 1/2-inch sheet
private collection
the same proprietary iron-silver
salt photoemulsion used to produce
the tray-developed heliogenic works was
repurposed here as a "traditional"
drawing medium—one that
could be hand applied.
colorless, transparent, and slow,
the emulsion remained completely
invisible to the naked eye throughout
the drawing process. it began to appear
only after several hours of exposure to
studio task lighting and ambient light
conditions in the work space.
essentially a blind drawing series,
the dwellings were not chemically
developed, stopped, or fixed. they were
instead allowed to deepen and darken
until reactive chemical and visual
equilibria were achieved.
salt photoemulsion used to produce
the tray-developed heliogenic works was
repurposed here as a "traditional"
drawing medium—one that
could be hand applied.
colorless, transparent, and slow,
the emulsion remained completely
invisible to the naked eye throughout
the drawing process. it began to appear
only after several hours of exposure to
studio task lighting and ambient light
conditions in the work space.
essentially a blind drawing series,
the dwellings were not chemically
developed, stopped, or fixed. they were
instead allowed to deepen and darken
until reactive chemical and visual
equilibria were achieved.
cotton mill studio (oakland, california)
west berger street studio (santa fe, new mexico)
