JAY BURTON TRACY | Works on Paper
untitled (part VII of IX), 1991
unique toned cameraless gelatin silverprint (photogram)
image seven from a nine-part image sequence
10 x 8 inches | collection of the artist
image seven from a nine-part image sequence
10 x 8 inches | collection of the artist
well, 1992
unique toned cameraless gelatin silverprint (photogram)
5 3/8 x 7 3/8 inches | private collection
5 3/8 x 7 3/8 inches | private collection
oh, 1992
unique toned cameraless gelatin silverprint (photogram)
7 3/8 x 5 3/8 inches | collection of the artist
7 3/8 x 5 3/8 inches | collection of the artist
given, taken, 1992
unique toned cameraless gelatin silverprint (photogram)
7 3/8 x 5 3/8 inches | collection of the artist
7 3/8 x 5 3/8 inches | collection of the artist
lure (for marcel duchamp), 1993
unique toned cameraless gelatin silverprint (photogram)
7 3/8 x 5 3/8 inches | collection of the artist
7 3/8 x 5 3/8 inches | collection of the artist
left, above, folded, 1993
unique toned cameraless gelatin silverprint (photogram)
5 3/8 x 7 3/8 inches | private collection
5 3/8 x 7 3/8 inches | private collection
the 1992 photograms on this page
were included in the 1993 exhibition
"speaking from the shadow of doubt"
at the jamison thomas gallery
in portland, oregon.
these intimate works represent
a considerable step forward in that
the shadow play at their core quickly
became much more transient and ephemeral
when the negative-matrices that generated
them lost contact with the photographic
paper/print substrate. by sublimating
gesture in the darkroom in this particular
way—by creating a physical and psycho-
linguistic distance between sign
and signifier—new kinds of shadow
portraits from other (more fugitive)
regions of reality began to emerge.
color was introduced into the
black-and-white gelatin silverprint
processing chemistry through
the use of traditional sepia-
and blue-toning agents.
were included in the 1993 exhibition
"speaking from the shadow of doubt"
at the jamison thomas gallery
in portland, oregon.
these intimate works represent
a considerable step forward in that
the shadow play at their core quickly
became much more transient and ephemeral
when the negative-matrices that generated
them lost contact with the photographic
paper/print substrate. by sublimating
gesture in the darkroom in this particular
way—by creating a physical and psycho-
linguistic distance between sign
and signifier—new kinds of shadow
portraits from other (more fugitive)
regions of reality began to emerge.
color was introduced into the
black-and-white gelatin silverprint
processing chemistry through
the use of traditional sepia-
and blue-toning agents.
westmoreland studio (portland, oregon)
