T Laurin, Ruth, Phototype with intaglio and conte on chine colle, 2014

Once I realized that I could alter the image by interfering with the emulsion on the film, I began to think about intended erasure in a graphic sense.  The emulsion can be softened by soaking in various solutions and then I began drawing back into the image. (Note: click "older posts" at the bottom of the page to see more works)

T Laurin, Camp Flare, Photoptype with chine colle, 2014

Other works….

T Laurin, Target Huntcamp, Phtototype with chine colle, 2014

This is created from two different slides that I drew (by removing the emulsion) in altering layers.

T Laurin, Target Rowers, Phototype with chine colle, 2014

T Laurin, Split/Double, phototyp with intaglio and dry media, 2014

This work was created with two slide images, torn and reassembled to produce the photographic element and then I decided to further separate the new image by cutting and intersecting with another printed chine colle.

Double images

T Laurin, Giant, phtototype with hand colouring on chine colle, 2014

After drawing lines into the slide's emulsion, I scanned the winter shoreline and copied/reversed the image resulting in this composition.

Back to representation

T Laurin, One Eyed Fisherman, prototype with hand colouring on chine colle, 2014

T Laurin, Bow, Phototype with hand colouring and pre-printed chine colle, 2014

After returning to representation within the photographic image, I felt it necessary to interrupt the visual planes with a different filmic presence. The addition of the drip-lines of ink represent both time and the non-linear representation of memory.