From a series of three silkscreen prints that are each layered reconstructions of imagery originally created by Birchfield as silver gelatin photograms. A photogram is created in the darkroom by placing objects on top of light-sensitive photo paper and then exposing the paper to a light source. The result is a ghostly record of the various objects now captured within the surface of the paper.
Many of Birchfield's pieces offer a textural accounting of some unknown passage of time or moment of destruction. Through the slow, layered application of screen printing inks, the process of constructing these images felt akin to a rebuilding.
For this series there is an incremental move from lightness to darkness across the trio of designs. Two of the prints are on white paper while one builds its imagery up on top of black paper. We used numerous layers of subtly shifting metallic inks to capture the rich, slightly iridescent surface of Birchfield’s silver gelatine photograms.
Many of Birchfield's pieces offer a textural accounting of some unknown passage of time or moment of destruction. Through the slow, layered application of screen printing inks, the process of constructing these images felt akin to a rebuilding.
For this series there is an incremental move from lightness to darkness across the trio of designs. Two of the prints are on white paper while one builds its imagery up on top of black paper. We used numerous layers of subtly shifting metallic inks to capture the rich, slightly iridescent surface of Birchfield’s silver gelatine photograms.
Jerry Birchfield, (b. 1985), lives and works in Cleveland, OH. He holds an MFA from Cornell University (2014). In Cleveland, Birchfield has exhibited at SPACES Gallery, Zygote Press, the Museum of Contemporary Art, the sunroom, and the Cleveland Foundation as well as the Print Center in Philadelphia.
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Our typical framing practice is to float mount prints with 1-inch (2cm) of space around the print. This is a method of framing that keeps the art fully visible in the frame and leaves the edges of the cotton papers exposed. A spacer is added to the frame to keep the artwork from touching the plexiglass. Float mounting requires adhering the print to an acid free foam core back or mat board using acid free linen tape.
UV-filtering plexiglass is used for all frames, an option that has become the industry standard. Plexiglass is lighter, scratch-resistant & shatter-resistant (essential for shipping). It also provides more UV protection and less glare than glass.
Please note that Premium Framing options are currently only available to US clients. For clients in Australia, please email us and we can share framing recommendations based on your location. More information about Custom Framing
UV-filtering plexiglass is used for all frames, an option that has become the industry standard. Plexiglass is lighter, scratch-resistant & shatter-resistant (essential for shipping). It also provides more UV protection and less glare than glass.
Please note that Premium Framing options are currently only available to US clients. For clients in Australia, please email us and we can share framing recommendations based on your location. More information about Custom Framing
