Hammond Jane, Chai Wan, 2005
Chai Wan, 2005
Selenium toned silver gelatin print
From the edition of 5
At the same time, Hammond plays with the inherent qualities of photography, such as its believable tactility. You know the feel of the underwear and towels—from other times and other photographs—that hang over stacked balconies in the hallucinatory images Chai Wan (2005) and Chai Wan Two (2006). You’ve touched the dancer’s satiny costume, the grit on the rusting gridded window bars. Hammond works her images digitally, collaging, retouching, building shadows in cyberspace. The resulting digital file is converted to a negative, which is printed in a darkroom as a selenium-toned gelatinsilver photograph. It is the silver gelatin that makes an aesthetic whole of the photographs, no matter how aberrant their parts, and renders them slightly archaic (like the idea of what the word “photograph” meant when Hammond was growing up in the 1950s)
Chai Wan, 2005
Selenium toned silver gelatin print
From the edition of 5
At the same time, Hammond plays with the inherent qualities of photography, such as its believable tactility. You know the feel of the underwear and towels—from other times and other photographs—that hang over stacked balconies in the hallucinatory images Chai Wan (2005) and Chai Wan Two (2006). You’ve touched the dancer’s satiny costume, the grit on the rusting gridded window bars. Hammond works her images digitally, collaging, retouching, building shadows in cyberspace. The resulting digital file is converted to a negative, which is printed in a darkroom as a selenium-toned gelatinsilver photograph. It is the silver gelatin that makes an aesthetic whole of the photographs, no matter how aberrant their parts, and renders them slightly archaic (like the idea of what the word “photograph” meant when Hammond was growing up in the 1950s)
Categories: Arts