Process & Technique

 

HOW IT WORKS

Each mandala begins with a photogram. I arrange crystal glass ashtrays, bowls, and plates on light-sensitive paper in the darkroom and expose them to light. This creates shadows and shapes that become the geometric foundation.

Then I hand-coat layers of gum dichromate emulsion and expose each one individually. Each layer has gum arabic, watercolor pigment, and light-sensitive chemicals. The exposed areas harden, the unexposed areas wash away.

This happens 2 to 5 times. Building up color and depth, layer by layer, over days or weeks.

THE ALCHEMY

I'm sculpting light through crystal glass. Activating centuries-old geometric forms — the kind you see in temple walls and woven textiles across Asia — through 19th century photographic processes.

It's a process that bridges ancient symbolism with modernist photographic innovation.

WHY GUM DICHROMATE?

It's a 19th century process that gives you:
- Rich, saturated color
- A painterly, tactile surface
- Archival permanence
- The ability to layer for depth

Each print takes days or weeks and has subtle variations. Even within editions, every print is slightly different.

MATERIALS

Arches Platine paper (archival, 100% cotton)
Winsor & Newton watercolor pigments
Potassium dichromate
Gum arabic
UV exposure unit

THE RESULT

Work that feels both ancient and modern. 19th century technique meets contemporary vision. Entirely analog. Entirely handmade.