In this afternoon lecture, ACTINIC Festival Director and co-curator Brittonie Fletcher will talk about the Photography In Print exhibition at Edinburgh Printmakers in context of the ACTINIC Festival and her own research as an artist and educator. She will also be joined by the exhibiting artists Kristina Chan, Nick Devison & Marysia Lachowicz.
There will be time for a Q&A and informal discussion on the history and continued relevance of analogue photographic technologies afterwards.
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Photography in Print
In celebration of two popular forms of art, this exhibition re-examines photography and printmaking within contemporary visual arts practice. Each of the works on display demonstrate techniques rooted in processes founded on the discovery and utilisation of ‘actinism.’ Actinic light is defined as that property of ultraviolet light and other radiant energy by which chemical changes are produced. Beyond the technical aspects, thematic connections emerged through the selected pieces of memory, history and sense of place. These works are presented by Scottish-based artists working with processes such as cyanotype, photo-etching, and photolithography.
Brittonie Fletcher (MFA) is a British-American artist, educator and curator currently based in Edinburgh, Scotland. Her work of the past decade has focused on connection to place, belonging and community - often tying in politics and the personal. In addition, her research has honed her technical expertise in analogue and hybrid alternative photographic processes, for which she is often sought. She is an active member of Edinburgh LoFi and the Calotype Society.
Brittonie has exhibited internationally and her work has been published with Focal/Rutledge Press and Random House as well as other publications online and in print. Her work can be found in public collections such as the Preus Museum: Norwegian National Museum of Photography and the National Library of Scotland. She has received awards, nominations and fellowships for her work including the 7th Julia Margaret Cameron Award for Women Photographers, a nomination for the Royal Photographic Society's '100 Heroines', an Arctic Circle Fellowship and a recent residency in Orkney sponsored by Highland Park.
Previous teaching appointments have included the Royal College of Art as Media Instructor and Study Abroad teaching for Maryland College of Art and Missouri University. She is faculty at Stills Centre for Photography in Edinburgh and the Penumbra Foundation in New York, USA. Her curatorial work includes director of ACTINIC Festival, Juriour for the Art of Research with Imperial Innovations and the Wellcome Trust, and up-coming exhibition ‘Photography In Print’ at Edinburgh Printmakers Jan – March 2020
Kristina Chan’s practice utilises site specificity, lost and minor histories to address the sustainability of our own industry and the indelible compulsion we have to make our mark. She works between traditional printmaking processes and alternative photography to create large scale public installations focusing on local histories and sense of place. Chan has exhibited globally, most notably at the Musée du Louvre during the 5th Annual Exposure Award Black and White Collection, Offprint TATE at TATE Modern (2015, 2016, 2018), Royal Academy London, Royal Academy of Art Antwerp during the 1st Edition of the KoMASK Master Printmaking Salon, Oseana Kunst og Kultursenter, Norway 2018, Museum für Moderne Kunst Bremen, Mindepartementet Museum of Art and Photography Stockholm, Hellingkreuzer HOF Venna (all 2016), Litvak Contemporary Tel Aviv, Israel (2019), Anise Gallery (2018, 2016) and Mall Galleries London (2017), Royal Scottish Academy Edinburgh (2019, 2018), and Project 88 Mumbai (2016), with works in the V&A Museum archives (2016) and Royal Collection (2018).
Chan has works in the permanent archives of the V&A Museum (2016, 2017) and Royal Collection (2018). Two-time recipient of the Elizabeth Greenshield’s Foundation Project Grant (2017, 2018), current Queen Sonja Print Award nominee (2020),1st place winner of the Royal Society of Painter Printmakers RE Anthony Dawson Printmakers Prize, Royal Scottish Academy RSA Guthrie Award, Wyng Media Award WMA Public Commission Finalist (all 2017), Villiers David Travel Grant (2015), Canadian General Governor’s Award for Excellence (2010), Government of Canada’s Millennium Award (2009).
Nick Devison trained in Painting at Wimbledon School of Art and completed his MA in Fine Art Printmaking at Camberwell College of Art in 2000. He has spent many years teaching in art schools including Course Leader for MA Printmaking at Anglia Ruskin University. Nick has taught master classes here at Edinburgh Printmakers and is a member of the Board of Directors since 2016. In January 2020 he was appointed Principal of Leith School of Art.
Nick has contributed to national and international exhibitions and conferences and has work represented in a number of collections including the Victoria and Albert Museum, London. He has curated a range of shows including Viewfinder which brought together artists whose work addressed our reading of the digital and photographic image. The project toured internationally travelling to Seoul, South Korea; Melbourne, Australia and venues in the UK.
I’m interested in the marks people leave behind. My work is process driven and site specific. It is inspired by location, memory and the personal when that adds context and a wider understanding. I work mainly with a digital camera but have always maintained an interest in analogue photography and alternative processes. I combine different processes and produce work in the most relevant format to the subject matter. Having recently re-set up a darkroom, the future looks analogue.
Over the last two years I have been documenting the Fife coast. Beyond the Surface is an ongoing exploration of the Scottish coast that creates an impression of our coastal environment reflecting the power of the ocean and its potential destructive nature. The first phase (Sea Views exhibited at Rothes Halls, Glenrothes, Fife in 2018) concentrated on documenting the abandoned tidal bathing pools around the Fife coast and capturing the transitory nature of the landscape, its structures and its impact on those who visit it.
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