This artwork is valued at $1200. The image is 11″ by 14″. It is beautifully framed in wood. Glass covered. Finished dimensions are 15″ x 18″
Sylvia Grace Borda is an Emily Carr University of Art + Design (BFA) and University of British Columbia (MFA) graduate. She has been recognised for her excellence in arts practice with recent awards including Frontiers in Retreat Artist Fellowship (Helsinki, Finland 2014-2016), Lumen Prize (UK 2016), and BC Arts Council Production award (2020). Her work can be found in collections locally and around the world, including the National Galleries of Scotland, Ulster Museum (Northern Ireland), Taipei Artist Village (Taiwan), Surrey Art Gallery (BC), UBC Belkin Art Gallery, and West Vancouver Museum of Art and Design, to name a few. sylviagborda.com
“Visual art and poetry evoke meaning through the arrangement of individual elements. The recording of plants in situ at Darts Hill Garden through the photogram process is an ephemeral process where individual stems and leaves of plants are recorded through the action of the sun across a light sensitive plane. Resultant images are much like poetry as the elements captured impact our thoughts and change constantly as we re-explore our senses.”
About the processes:
A photogram is a camera-less photographic recording made by capturing the impression of an object by light as it is placed across a light sensitive surface. Each photogram is a singular and unique rendered image.
A cyanotype print uses light-sensitive iron salts—potassium ferricyanide and ferric ammonium citrate—rather than light-sensitive silver salts. The image is produced through contact printing, by pressing a negative or object directly to the surface and exposing the paper to UV light. Cyanotypes can take up to twenty minutes for ample exposure, as the iron salts altered by ultraviolet light react with the ferricyanide to create an insoluble blue dye known as Prussian blue. The areas exposed to light become blue shadows and middle tones; the excess, unexposed iron salts are washed away, creating highlights.
The cyanotype process has existed nearly since the inception of photography itself, and cyanotypes are immediately recognizable by their vibrant cyan blue tones. The process was invented in 1842 by the English astronomer Sir John F. W. Herschel (1792–1871), who intended it for reproducing art and technical drawings, the latter referred to and better known as “blueprints.”