August 2024
Rachelle Bussières has developed a fascinating artistic practice engaging material sensitivity to light and the experience of place and time, producing unique photographic artworks which may be described as image-based or even akin to the experience of seeing light itself. Originally from Quebec, Bussières is now working and living in Brooklyn, and will be exhibiting works from her recent projects in London at Equivalentbehaviour Space later this month. Below, Christiane Monarchi asked the artist about the background to her ideas which will be explored in this exhibition and concurrent events.
__________
Christiane Monarchi: Your work and process seem to transform the idea of sight itself, recording light in the substrate of photographic paper in ways that create new discourses on simulacra of reality, experience of light and atmosphere in a photograph. Moving through an exploration of the works on your site I am curious to know more about the pieces we will see in London in the coming weeks, could you describe your working process with lumen prints?
Rachelle Bussières: My work delves into the essence of light and its interaction with photographic materials. Rather than focusing on mere representation, I explore how light can be recorded and transformed within the substrate of photographic paper, creating a dialogue between reality and its simulacrum. This approach challenges the traditional notions of photography, pushing the medium into a space where it becomes a conduit for experiencing light and atmosphere directly.
The emergence of colours in a lumen print is a complex interplay of several factors. It begins with the intrinsic properties of the photographic paper and how it responds to different light sources. The colours are not merely applied but are born from the interaction between light and the photosensitive material. Gelatin silver paper, for example, undergoes a chemical transformation when exposed to light, changing from its original state to hues that can range from dark violet to brown and grey.
When I began working with lumen prints, I discovered that the control over the resulting colours was both an art and a science. In California, where I lived from 2011-2019, the intense sunlight produced rapid and vibrant changes, but it was through my research and experimentation in New York, particularly during my residency at the Penumbra Foundation, that I gained a deeper understanding of this process. Collaborating with the Image Permanence Institute and studying the work of photographer and chemist Mike Ware, I learned that the size and shape of silver particles in the paper shift with varying light spectra, influencing the colours that appear.
To control the colour palette, I experiment with different light sources, such as incandescent and fluorescent bulbs, as well as natural light, each imparting unique qualities to the paper. Exposure times are another crucial variable; longer exposures, sometimes extending up to months, allow for a more gradual and darker transformation of the colours. Additionally, the type of paper and the environmental conditions where the print is made play significant roles. By layering exposures and carefully selecting these variables, I create works that capture the ephemeral nature of light in a tangible form.
In the upcoming exhibition in London, viewers will see pieces from the “Air Index” series, which encapsulate this intricate process. These prints are not just images but manifestations of light’s journey through time and space, capturing its essence in a spectrum of pastel hues. This method of working allows me to present photography not just as a means of representation but as an experience in itself, where the interaction of light and material becomes a subject of contemplation and exploration, in a global and planetary context.
CM: Could you tell me a bit more about how the colours can emerge in a lumen print? Does the paper kind of cycle through colours and you can stop it when you bathe it in fixer, or do some hues emerge as a result of multiple inputs and keep changing even? What kinds of duration are we seeing with different coloured works?
RB: Colours in a lumen print emerge through the interaction of light and photosensitive paper. Black and white paper, when unexposed, displays a soft yellow. If left in the light, the paper cycles through colours based on the light’s intensity, type of paper, and exposure duration. When you bathe the paper in the fixer, it stops the colour changes and impacts the hues at that moment. The unfixed photogram will feature vibrant violets and pinks that become soft yellows and subtle pinks once fixed.
Some colours result from multiple exposures to different light sources. Shorter exposures can produce subtle and light colours, while longer exposures result in more vibrant and darker hues. The duration and light quality play crucial roles in the final colour palette of the work.
CM: In what is definitely one of the more poetic press releases to grace my inbox in recent weeks, I have been intrigued by a comment on your process and the works in Air Index: “the point is not to see; it is a matter of receiving this light itself. ” Could you tell me a little bit more about your process of collaboration with the 25 invited artists who contributed to this larger work? I’m interested to know what kind of input and variance the works may include.
RB: “The point is not to see; it is a matter of receiving this light itself” encapsulates the essence of my approach to lumen printing. It emphasises experiencing light as a material phenomenon rather than merely observing it. This philosophy underpins my collaborative project “Air Index,” focusing on how light interacts with photographic paper, capturing its ephemeral and transformative qualities.
My interest in collaborative projects crystallised in the summer of 2022 when I founded LUMIÈRE NYC, aiming to integrate arts, sciences, and early photography theories into contemporary lumen printing praxis. During the COVID-19 pandemic, I received numerous requests to teach lumen printing online, leading to a three-part workshop with the London Alternative Photography Collective (LAPC). This highlighted the global interest and potential for diverse interpretations in lumen printing. Observing participants from around the world producing varied results from the same assignment formed the basis of the “Air Index” project.
For this project, I invited 25 international artists to explore lumen printing, each bringing unique perspectives and techniques. Most of these photographers were discovered through LUMIÈRE NYC, where I learned about their work, shared their vision, and sometimes conducted interviews on the platform.
The artists experimented with different light sources, exposure times, types of paper and environmental conditions, resulting in a wide range of colours in the prints. Some used natural light, while others experimented with artificial sources. By commissioning a diverse group of international artists, this project expands the discourse on light, environmental factors, and artistic practice. The works highlight the interaction of light with photographic materials, emphasising the experiential and transformative aspects of this medium. I believe this collaborative effort enriches the visual language and discourse surrounding contemporary photography.
CM: When you have been exploring visualising forms in the work, could you describe what kind of process may be involved in creating these ethereal circles and ovoids? From the screen, the images appear as if they are multi-strata, hovering or three dimensional in form, but this can’t be, or can it?
RB: The inspiration for my lumen printing practices began with witnessing a total eclipse in Oregon in 2017—a sublime experience that deeply influenced my artistic vision and shifted my focus from my previous obsession with geology. The eclipse’s dramatic interplay of light and shadow, combined with the grandeur of the celestial event, prompted me to explore how light can be captured and transformed through photography. At the same time, I began creating circle photograms alongside my lumen print works.
To create these ethereal circles and ovoids, I use photographic lenses, lamps, and flashlights as forms placed on paper. The composition undergoes various light exposures—incandescent, fluorescent, or natural sunlight—over different durations. Each exposure interacts uniquely with the paper, creating different colours and capturing shadows, which gives the appearance of hovering or three-dimensional forms and builds visual depth. This method allows for subtle shifts in colour while recording the shadows of these objects, giving the illusion of dimensionality.
Some works are also created by physically layering two separate pieces of photographic paper. This technique introduces actual depth, with shadows and the interplay of light between the layers enhancing the sense of dimension and creating a floating effect. I have recently started printing on glass panels and layering two of them to accentuate depth and the light interplay with the piece.
The connection to moons and suns in my work reflects the sublime experience of astronomical events, both real and imagined, emphasising the ephemeral and transformative nature of light. The interplay of light and shadow in my prints evokes a celestial quality, capturing the essence of astronomical phenomena through the medium of photography.
CM: What are the limits or preferences you have, in terms of size and shape of the photographic paper you use?
RB: In terms of size and shape, I have specific preferences but also some flexibility. I primarily use fibre-based papers, such as Ilford matte and multigrade papers. I personally don’t work with other types of paper or expired paper. My preferred format is 20 x 24 inches, as it allows for a larger and more detailed exploration of light and form. However, I use large rolls to make my unfixed ‘Wind Prints’ installation. I also work with 11 x 14 inches for smaller, more intimate pieces.
Recently, I’ve expanded my practice to include UV prints on glass panels, which introduces a new dimension and texture to my work. I love glass as it opens up new possibilities for interacting with light and creating depth.
CM: Could you tell me a bit more about the interaction between photographic paper and manipulation, such as rolling up in “Wind Prints?'”Are there elements of surprise and experimentation that attract you to this process?
RB: In my unfixed photographic works titled “Wind Prints”, the interaction between photographic paper and manipulation accentuates the temporal nature of the photograph. The process begins with the paper immediately starting to reproduce an image upon contact with light. I began this series during a residency at the World Trade Center in New York in 2020. The studio they offered me had large windows that admit bright sunlight into the studio. While working on several projects simultaneously, I would leave rolls of unexposed gelatin silver paper out for entire months. I discovered that by exposing the prints in a lit studio rather than a darkroom and rolling the paper into a cylinder—where the edges act as an aperture—it created an elongated camera obscura with openings at each end. This setup projects slight linear rays of light horizontally across the print, which reminds me of sunsets or the motion of a gust of wind.
The element of surprise and experimentation is central to this process. As the prints are unrolled, they fade, and their incandescence gradually disappears while a subsequent image forms. The soft textures of the rolled layers of paper are slightly irregular and cover the whole surface, evoking colour field paintings. Instead of pigment, these textures represent a colour field of light. This dynamic interaction with light and the physical manipulation of the paper introduces unpredictable outcomes, making each print a unique exploration of light and time.
CM: Are you working on new projects at the moment?
RB: I just returned from a travelling residency with Brooklyn Darkroom, where I followed the East Coast of the U.S. in the “Infra-Red” van, a Winnebago that serves as a studio. I have never spent so much time observing water patterns, with my feet and hands in streams, looking for rock resistance in ripples, feeling the temperature, and waiting.
I’m producing a new “Streams” series that features the motion of different streams along the Appalachian Trail. These images capture the movement of time on gelatin silver paper at dusk. When daylight disappears and night begins, I submerge gelatin silver paper directly in the moving water and observe ripples creating patterns on the surface. Then, I use a UV flashlight to follow the direction of the current and record its textures. I can do a few exposures to capture different areas on the paper and create a composition.
I really enjoy working with water and natural elements again. Each stream I have recorded so far has taught me different things about its current; its speed, depth, and temperature all influence the visual effects and colours. I spent a lot of time in nature as a child, and I have camped quite a lot as an adult as well. Sleeping in my “darkroom camper” for a month felt a bit like home. I intend to continue to follow bodies of water in motion.
__________
Rachelle Bussières was born in Québec City, Canada, and received her MFA from San Francisco Art Institute. Bussières’ recent solo exhibitions include Robertson Arès Gallery, Galerie Alexandre Motulsky-Falardeau, Melanie Flood Projects, Penumbra Foundation, Johansson Projects, and Robert Koch Gallery. She received an honorable mention for the Snider Prize from the Museum of Contemporary Photography, and was a finalist for the Aperture Foundation Portfolio Prize and the Solo Exhibition Award from Tiger Strike Asteroid. Residencies include Brooklyn Darkroom, Silver Art Projects, Penumbra Foundation, Banff Center, and Headlands Center for the Arts. Some recent group shows include Wassaic Project, the International Center for Photography, the World Trade Center, and Rubber Factory (all New York, New York), Seattle Pacific University (Seattle, Washington), Tiger Strikes Asteroid (Brooklyn, New York), Soil Gallery (Seattle, Washington), Galerie l’Inlassable (Paris, France), Headlands Center for the Arts (Sausalito, California) and Present Company (Brooklyn, New York). Bussieres lives and works in New York City where she extends her practice as the founder of LUMIÈRE NYC, an educational organization that supports a long-term and comprehensive resource by bringing together the arts, science, and theories of early photography in the context of contemporary practices using lumen printing.
__________
AIR INDEX, a collaborative project presented by guest artist Rachelle Bussières will be presented August 15-26, 2024 at Equivalentbehaviour Space, London
Events include:
Conversation between Rachelle Bussières and Melanie King: Sunday, August 18, 4PM
Gong Bath with Agata Kik // Martyn Riley: Sunday, August 18, 6PM until sun down
Details of these events and exhibitions can be found here.
