After loading the 127 black and white film, and using the Brownie for the first time along the canal
at Kings Cross near where I live, the process became very familiar - a flashback to many years of
analogue photography. It was refreshing to be reminded of pre-digital days and the thrill of
seeing the negative images emerge on the film, developing the prints, or collecting them from
the photo lab. Besides the quality, perhaps most significant for me is the limitation of
exposures using film. As a result, I am reminded to give more consideration to content and
composition, and to reducing the number of images I take when using my digital camera. After taking the
photographs on the Brownie, I am experimenting with merging images,
with doubling, and with the positive and the negative, before producing a sequence of silver
gelatin prints. Further developments and changes may occur as the work progresses.
London-based artist Jane Grisewood gained her Masters and PhD at Central Saint Martins, where she teaches experimental drawing. Her ongoing interest in time explores repetitive and durational processes across media. Recent artist residencies at the observatories in Arizona, Chile and Hawaii have focused on analogue and digital photography, with subsequent exhibitions in London and Berlin. She has several of her photographic books in collections, including Tate, V&A, MACBA, MoMA, Brooklyn and Yale; drawings in Phaidon’s Universe, 2017; and Separations in Photo-eye Best Books for 2011 award.
Jane Grisewood's website