How did you first get into cyanotype?When I was a young student I first used some sun print paper (pre-prepared light sensitive paper) to make some quick-prints. I loved the effect I achieved but didn't really pursue it any further at the time. Later on when I returned to study for my MA and explored a new direction with my practice I came across an old packet of sun print paper by chance and took it with me on a walk. I paused in a clearing in the woods and stopped to collect whatever was to hand to make a print with. The act of creating a truly one-off print out in the open air with virtually no equipment transformed my practice. I went off to learn more about the possibilities of the process and also how cyanotypes could be created on textiles.
Can you tell us how your first project went?My initial experiments were all based out in the rural landscape, working with whatever was to hand. The beauty of this is that no two prints are alike and they capture something special of that place and time. That is really what I was looking for. The downside with this way of working is that the wind would blow things around or the sun would go behind a cloud, but really I feel this is all part of my process and can make for some interesting results.
Where do you get your inspiration from?
What do you love most about the process?
What would be your best advice for those starting out?
What's next for you, any upcoming projects you're working on?I currently have work on show at Sunny Bank Mills, near Leeds, which includes a 10 metre long cyanotype on silk based on historical textile archive research. I will also be showing work in the forthcoming 62 Group exhibition CTRL/Shift at MAC, Birmingham 21 July - 9 Sept 2018. I also have another very exciting project which I'm afraid I can't tell you about, so watch this space!
We would like to thank Hannah for this wonderful chat about a fascinating craft - we especially love how she sees the process as evocative and poetic in the ghostly form that it creates!