Dhanderva Vado Samla Parsvanath, Patan, Gujarat, India, 1995. Platinum-palladium print on 100% cellulose paper (Wyndstone Vellum), from 8×10 inch original negative.
Love: The Shaman, 1990. Platinum-palladium print on 100% cellulose (Fabriano 5) from original 8×10 in negative.
From a series of still life pieces about belief, learning and rationalism, summed up it seemed against the counterpoint of shamanism, this image was particularly inspired by Manuel de Falla’s gut-grabbing El Amor Brujo. Listen to this performance by the DRSO and Rafael Frühbeck de Burgos… especially around 14:15 to 18:00.
Memory: Mummy and Papa Afloat on a Sea of Fate, 1989. Platinum-palladium print on 100% cellulose (Fabriano 5) from original 8×10 in negative.
Part of a diptych, the other with exactly the same negative printed and shown rotated by 180°. For the techies, this becomes a test of edition printing. 🙂 See the next post.
Three Versions of Judas, 1, Berriedale, Orkney, March, 1984. (printed 1984). Platinum-palladium print on 100% cellulose (Van Gelder simili japon) from original 18×24 cm negative.
Borges was an oracular historian. When I read his short story, Three Versions of Judas, my understanding of time (not linear) and perspective (not just visual, and not just from one, two or three points of view) began to drop into another realm. During the same period of making these photographs, the story helped me ‘enter’ the platinum-palladium printing process in a way I had not achieved till then, and to break out of the language of black and white silver gelatin printing. This print, and the two related versions of Judas coming up, brought everything together for me: Zen and Borges, animated objects in front of the lens, images with their own center of gravity, dimensionality in the print that was free of tonal extremes, and recognizing the singular vernacular of platinum/palladium prints.