abby beatrice quick

WABI SABI

December 2016

Gray's School of Art

The photographic prints I display alongside my chapbook, inside the little wooden box on the table, are made to be touched. I encourage the audience (gently, I hope) to interact with the work; to shuffle through the prints, to feel the texture of the skins lifted from failed liquid light experiments on tin, to handle and hold up the tins to witness the image softly glimmer in the natural light of the space. I have coated these tins in liquid light emulsion before exposing the images to the tins in the darkroom. It is a very fickle process. It requires a lot of patience and the sacrifice of any pre-conceived notion of what the end result should look like. This is because the results are unpredictable, and even after producing something almost close to ‘perfect’, there is the likelihood that it will rust over, peel off or fade away entirely.

Similar issues arise within the lith process, which I have used for many of the prints inside the box, and on the wall above.

That is what makes alternative processes within photography appealing to me, though, for there is something quite magical and elemental about being so vulnerable to natural weathering and patina, and to the passing of time. 

THERE IS AN ISLAND

WILD

AND UNTOUCHED

IT WALLOWS BENEATH A DUSTY SUN

IT SLEEPS

IN SOLITUDE

IT LIVES

INSIDE OF ME

Using Format