Julie Upmeyer : Dark Blue Substance

Blissfully engrossed a demonstration of the cyanotype process (a 170-year-old photographic printing process that produces prints in a stunning gradation of dark blue-grey-green-aqua and white) I thought how I might expose something more mechanical and rigid than the leaves and flowers spread out on the table in front of me. I had brought a random selection of materials from my studio, eventually selecting some lined plastic roofing sheeting and some metal clips, thinking the sharp shadows would be interesting under the harsh studio light that would be exposing it.  

Ultravoilet-C

Short-wave UV

Filtered out by the ozone

The first two cyanotypes were revealed – beautiful, deep shades of blue, shadows of seed pods, semi-translucent flower petals, delicate stems and other-worldly forms. Really very impressive and undeniably beautiful in all senses of the word. It was my turn. I layered my treated paper with the plastic and metal pieces. 20 minutes wait. Removing it from underneath the light it was a shocking lime green colour, with stripes of light blue and flashes of white.

Ultravoilet -B

Medium-Wave UV

Filtered out by most any material, glass included

The water ran over the paper, rinsing out the cyanotype chemicals. Gently, the water washed away all suggestion of colour, contrast and cyan down the drain. We were puzzled for a moment and then….

Ultravoilet -A

Long-Wave UV

Filtered only by specially applied window film

The plastic roof sheeting I had used had been treated with a transparent coating to protect the plastic, along with any humans on the other side of it, from the damaging UV rays of the sun - standard in roofing and window manufacturing. I had inadvertently protected my cyanotype from the UV light that it needed to develop. We laughed. The UV rays, specific as they may seem, connect the seemingly disparate worlds of early photographic processes and the modern building trade. One purposefully introduces the rays, using their transformative powers to create imagery, the other seeks to block them out, limiting their power to affect plastic, skin and other materials. Everything working according to purpose. 

To learn more about Julie’s work visit here Artist Profile