Photographic artist Lawrance Brennon pushes the boundaries between 21st century technology and 19th century traditional printmaking. By combining captured images with fragments of constructed or found objects, he produces interpretive views into an imaginary world.

“A current and recurring theme in my imagery is “Disintegration” where I employ the photographic process as a means to an end. It is merely a palette with which to explore the destructive effects which time and the elements have on manmade and organic objects..

Space, shape, texture and form play an important role in my seeing and image making. Sometimes the work is literal and instantly recognisable, whilst in other instances it takes on a more abstract and interpretive guise. In most instances however, I prefer to create pre-visualised and constructed imagery in order to convey mood or an idea.

I have always been fascinated by the dreamlike and ethereal quality of the work of late 19th Century pictorial photographers and etchers.The monochromatic and ‘gritty’ rendition of even the most common subject matter, imparts a graphic and tactile quality which only an etching can replicate.

My current body of work is based upon a contemporary adaptation of the original Photogravure process referred to as The Intaglio-Type.”

THE INTAGLIO-TYPE PROCESS

The origin of the word intaglio, traditionally termed photogravure, refers to a printed image that has been incised or engraved.

The process involves the engraving of an image onto a metal plate which is subsequently wiped with ink and sandwiched in contact with damp etching paper prior to being pulled through an artist’s press. The resulting pressure forces ink into the etched hollows transferring the image to the paper.

The traditional photogravure process employed dangerous and toxic chemicals and many practitioners ‘‘died for their art!”. The process I use faithfully follows the historical practice but using “greener” materials. The combination of high quality cotton paper and specialised etching inks combine to produce an image of exceptional archival quality. My print edition is limited to a maximum of 20 prints ensuring intrinsic value and collectability.

Alfred Steiglitz, the influential 19th Century photographer and leader of the Photo Secessionists, embraced the photogravure approach when he produced his seminal photographic work entitled Camera Work.