Exploring what lies beneath in an unadulterated, pure form is the best way to sum up flowerville’s credo. This not only applies to the French and ancient Greek philosophers whose language the artist learned in order to understand original texts but also the photograms she produces.
Without a camera in direct contact between the photo material to be exposed and the depicted object captures the transition between shape and shadow on the paper.
Soft and fragile with an ethereal quality too them, flowerville’s motifs captured on glass and paper invites us to explore with what lies behind. Art works were on view at the Winterbourne Gallery in Birmingham.
What is special about photograms?
flowerville creates her photograms by placing objects (grass, ferns or flowers she has collected and dried herself) between light-sensitive photo paper and a light source and then exposing them. The spatial extent of the light source and the distance between the objects and the film determine the contouring of the shadow.
The forerunners of the photogram can be found in the early days of photography. The photography pioneer William Henry Fox Talbot made his first photograms as early as 1840 by soaking writing paper with table salt and silver nitrate solution, placing objects on it and exposing them to sunlight.
flowerville not only collects her flowers and ferns herself, but also the photo paper. The photograms are on old paper that flowerville found at collectors’ fairs and flea markets, the paper is from the 1940s and 1950s. This also explains the “worn out” condition and the curled paper.