The cyanotype technique is usually used to make prints of plants or photos converted into a negative, printed on transparent film. I wanted to find a way to keep this process as analogous as possible. At first, I thought of using the technique as a photogram – the illumination of various objects with different transparency. But in the end collages from pieces of photographic emulsion or illuminated black formats with crystallized chemistry on the surface were used as the first “negatives”. I edited and destroyed these negatives as I pleased, using engraving, scratching and layering of emulsion pieces. I often exposed the emulsion to the sun while it was still wet, thanks to which it kept working and changed shape even during the exposure, then small nuances of light and shadows could arise.
Later on, I started working with the cyanotype itself in a more painterly way. I applied the light-sensitive mixture in many cases in such a way that even the strokes of the brush were recognized. I also worked with the layering of individual surfaces, I created several exposures on top of each other, and I intervened in them separately, for example with sheps, or influenced them with a chemical process.