I’m writing this message to update all our readers and fans on the state of all things One Twelve and Diffusion.
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At the beginning of 2023, I had the pleasure of participating in LACP’s photo reviews. Although there are some obvious limitations to reviewing work online rather than in person, it’s still great to meet new people and see new projects that are unfolding. One of the projects that struck a chord with me was Connolly’s “Wishmaker” series and the Landau gallery project.
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Hey friends, it is with great delight that I’m able to share that season two of the Diffusion Tapes has launched. First up, the distinguished photo guru Michael Kirchoff. I've also suckered Kirchoff into being my co-host of the Diffusion Tapes from here on out and we’ve got a great guest list we’ve been chatting it up with.
Subscribe on your favorite podcast app and follow us on one of our social media accounts to be notified of new episodes coming in January 2023.
Welcome back... these are the Diffusion Tapes.
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A “One Eighty” is a term used in skateboarding where you spin on the skateboard one hundred and eighty degrees to face the opposite direction. As a young teenager, my after-school time was spent obsessively perfecting One Eighties, Three Sixties, Handstands, and Slalom Maneuvers, in the parking lots of nearby factories. Although I am no longer a skater, I’m still very drawn to skateboarding and the environment where skateboarding occurs. These places become a sacred space for physical expression, communal support, and in my eyes, a type of meditation.
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June has arrived and hopefully, in the next month, we’ll see some sunshine in Portland. And when this elusive sun stretches its rays into our atmosphere, my friend Heidi Kirkpatrick will have Potassium ferricyanide and Ferric ammonium citrate on hand, ready to make more beautiful cyanotypes.
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Thankfully, in the age of digital, there are still photographers experimenting in the darkroom and Jane Olin is one of those folks. Olin has a long history with the community of photography and has studied with some of the biggest influencers in the craft and now has become one herself. We first published some of Olin’s work, Thirteen Crows, in The Matter of Light (Diffusion, Volume VI) and I believe that was my first introduction to her. Thankfully, Ann Jastrab reintroduced us by way of her newest series, Intimate Conversations where Olin has expanded on her darkroom experimentation by creating spontaneous happy accidents with darkroom chemistry and light.
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Traumatic events weave themselves into our identity and journey. Norah experiments with depicting visceral experiences of emotional states and memories. Childhood and intergenerational trauma live within my body and mind in a cyclical process of death, liminal space, and rebirth. Yet, my vivid reality is unseen by others. Moments of despair and hope, fear and peace, defeat and triumph, pass unmarked to the outside world.
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Hello readers, I’m pleased to share our first poignant portfolio from work seen at the 2021 Click! Portfolio Reviews. I’ve been fortunate to review work for Click! over the past 4 years both in person and now online, which as you can guess is a hard task when looking at work that really resonates the best in tangible form. From my experience, Click! has drawn in some of my favorite styles of photography (and photographers for that matter). Meaning, I’ve seen a lot of great hand-crafted process work over the years and these lovely mixed media cyanotypes by Sally Chapman are no exception.
Let’s not talk about the process though, Chapman covers that below, but I will say this, I dig it. I’m a romantic, at the very least when it comes to art. Easily taken with pretty pictures. But it is more than just that, Chapman’s recontextualizing of monuments into new environments nods to the reclamation of the land by nature. An apocalypse even. And Chapman’s color use and frame spillover are beautifully designed.
Spend some time with these and take in the details, you won’t regret it. Thanks, Sally for sharing your work with us!
–Blue Mitchell @onetwelveprojects
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The sense of nostalgia evoked in the graphic synthesis of these images is augmented through the use of a wash of warm sepia tones that permeate the images. There is also a visual correlation between inhabitants of the boxes and the boxes themselves. The folds of the boxes having a quality not unlike origami, is reflected in the contortionist-like bending of the human forms within.
The unusual and dissimilar combination of people and cardboard boxes is visually unified through the repetition of angles. Despite pairing such disparate elements, I bring them together harmoniously to form images with visual impact, and are frankly, fun to look at.
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I have adopted the core principles of alchemy in my work and am informed by this alchemical idea of transformation. The colors and images I create are through a transformative process of light manipulation and chemical action. One of my primary ways of manipulating light is by reflecting and refracting it through prismatic materials to capture the spectrum of color contained within white light. This color dance is further mimicked by the photographic paper itself, the resulting color is the opposite color that was used to expose it. I further explore transformation with chemical reactions. I can make an assortment of colors from the reactions of the two chemicals that are used for processing color prints.
Speed, duration, temperature, and light are some of the variables that factor into what color the chemical reactions make. I am fascinated by the alchemical process, for it is never complete, each piece will continue to slowly evolve with time, just like you and me.
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395 Days and Counting is an essay composed of images produced during quarantine due to Covid-19. Most of them were taken at my apartment in São Paulo, Brazil, and reflect this period of a contemplative mood when time seemed suspended. This is a diary about the isolation experienced during these days.
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Precisely Now by Peggy Washburn
In my first-grade class, I was taught to write with my right hand. I was more comfortable with my left. We had big sheets of paper and were asked to make lines, then circles using our whole arm. I made hundreds, maybe thousands of circles. I pasted these circles, along with found objects into books. It helped me to record my thoughts and make visual order. It also allowed me to express the familiar disorder of a child’s mind. I later added drawings and eventually my photographs.
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Fictitious Family by Norma Córdova
My father was diagnosed with early-onset Alzheimers in 1997, and after a long struggle with dementia, passed away in 2007. The intervening ten years were the most difficult years of my life. It profoundly changed the dynamics of my family, and my own personal trajectory, especially as Alzheimers can carry a stigma in Mexican communities.
Somewhere in those ten years, I picked up a camera and began to develop my craft.
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Small Animal by Amanda Tinker
In this series of photographs, I arrange details from nature collected from my family garden, children’s books, and vintage identification guides, behind large glass panels. Each photograph looks at the natural world as if it were held just for our observation, suspended far from any recognizable landscape. Nature’s small beauties, such as birds, butterflies, twigs, and petals become objects of contemplation, organized into layered configurations. As arrangements these are illusions. I am inspired by the “impossible bouquet” of Dutch still life, where flowers that would never bloom together in nature are painted together in lavish arrays.
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“The Great River of the West'' is a photographic survey of the 1250 mile long Columbia River, from its source in the Canadian Rockies, to the confluence with the Pacific, exploring its current cultural and economic landscape, with an eye towards its significance in the history of the Pacific Northwest and North America. The following photographs are sequenced geographically, with the first image at the source and the last at the confluence.
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Now is Always by Vaune Trachtman
This work began one summer in the early 1930s when my father shot a few rolls of film near his father's drugstore in Philadelphia. Nearly 90 years later I was given the negatives by a relative. Working from the original negatives, I've combined the people from my father's neighborhood with my own cell phone images, many of which were shot from windows and moving vehicles.
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This project began during a period of unwanted and unexpected isolation, brought on by the COVID-19 Pandemic. With all photographic work at a sudden standstill, we began with self-portraits as a way to wrestle with our own anxiety and preserve an unprecedented time in history. As photographers that is how we naturally respond to things. We photograph them if only to have a record of their existence.
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You are Eternity by Marcy Palmer
This project is an exploration of beauty as an antidote for personal and political crisis.
In times of heartache, disaster, impasse, many turn to the idea of beauty in the natural world as a place of refuge.
These images are made from plants and flowers, which are photographed, printed on vellum, and hand-applied with 24k gold leaf, varnish, and wax to create the final images. The project is inspired by Anna Atkins’s botanical studies as well as surrealist photographers who manipulated imagery and materials such as Florence Henri, Dora Maar, and Maurice Tabard.
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These photographs are from an ongoing series of snapshots taken in and around my wife's and my apartment with a Polaroid camera and instant film over many years.
The thought of living somewhere else is a poignant reminder that although we've spent a good part of our lives here it may, at some point, be just a memory. I've made a lot of pictures of physical details of our apartment over the years, but the series mainly consists of those that depict the quiet moments of little consequence that comprise most of our time.
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Insects find a way into our homes no matter how vigilant we are in our effort to keep nature on the outer side of our windowpanes. During my inquiry into suburban experience, I started recording the indoor wildlife consistent with the environment my subdivision occupies.
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