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Ella Morton photographs arctic and subarctic lands affected by climate change in an effort to express the sublime and magical qualities of the places that are being lost as the planet warms. She soaks her color film in various solutions and uses the mordançage process to achieve a sense of melting and dissolution that echoes the ever-changing nature of the landscapes she photographs.
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In his project “Power,” David Emitt Adams creates wet plate collodion images of oil refineries on oil drum lids as a way to spark conversations about energy; its rate of consumption, sources, and effects on the land. The images are made in-camera – in a purpose-designed camera that Adams built himself – and developed on-site in a mobile darkroom.
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In “Where Land Runs Out,” Liz Harrington immerses cyanotype paper in the sea at Shingle Street Beach, on the East of England coastline, and allows the process to record the ebb and flow of the waves. In this desolate yet peaceful place, Harrington finds herself fascinated by the juxtaposition of the calm, contemplative environment and the disruptive power of the sea.
Anne Eder documents the changing landscape of Plum Island, a barrier reef off the coast of Massachusetts that has its origins in climate change and is imperiled by it today. Eder saw the project “Mysteries of Plum Island” as an opportunity to experiment with process, incorporating salt from the sea into her salted paper prints and combining the process with that of Ziatype.
IN CONVERSATION: Photographers Jackie Neale and Rashod Taylor explore their complicated relationships with the United States through the symbolism of the American flag. Neale utilizes the cyanotype process to create photograms of objects such as guns, bullets, and flags of other nations directly on American flags. Using the wet plate collodion process, Taylor uses the flag as a backdrop for still lives whose objects represent various aspects of American society.