Version 2 2025-11-05, 03:43
Version 1 2025-11-04, 22:41
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posted on 2025-11-05, 03:43 authored by Eleanor SuessEleanor SuessF23 Studio Model Cyanotypes<p></p>
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The work took the process established in the camera/room cyanotype exposures, applying it to Suess’s 1:15 Studio F23 model. Artwork produced in 2020, first exhibited in 2024Extent
2 original cyanotype prints on paper, made inside 1:15 Studio F23 modelStart date
2024-02-26End date
2024-05-17Research statement
Background Projection lines for drawing are often likened to lines of light, especially when relating the eyes’ reception of supposedly perspectival imagery to perspectival projection onto a picture plane though techniques such as Alberti’s veil, or Leonardo’s glass (Haralambidou, 2007). Similarly, Raphael’s conception of orthographic projection, resulting from an increasingly (and ultimately infinitely) distanced viewpoint “are most readily understood to be representations of light paths” (Evans, 1995). Sciagraphy and oblique parallel projection share the same underlying geometrical rules, the latter being “like an orthographic shadow” (Meyer and Meyer, 1855–1863). Contribution This work is part of Suess’s ongoing “Shadowgraphs” project which engages with the architectural drawing conventions of sciagraphy and axonometry, using sunlight as an active agent in the production of cyanotype photograms and artists’ films. Suess’s experimental practices with the cyanotype photogram technique bring together the projection of light, and the projection within architectural representation. This work challenges the paradoxical, artificial, and constructed nature of the axonometric drawing, revealing that whenever the sun’s parallel rays cast shadows of a three dimensional object, they draw axonometric imagery into the world. Significance This transdisciplinary work utilises Suess’s grounding in fine art and architecture, bringing these fields together to form hybrid artefacts. The work exposes the underlying nature of oblique parallel projection, expressing its latent history as originating in the shadows already present in the world. This piece demonstrates a technique for the production of sunlight and daylight studies that are beautiful and compelling artefacts in their own right, rather than the technical diagrams that are more commonly used for this purpose, but which do not convey the inherent spatial impact and affect of light.Event
Form | Shadow | Space: Analogical Perceptual Artefacts An exhibition by Eleanor Suess and Maycon SedrezPublisher
Waterfront Gallery, Deakin University, Geelong Waterfront CampusUsage metrics
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