Experimental Cyanotype on Fabric and Paper Workshop with Kate Lain

Experimental Cyanotype on Fabric and Paper Workshop with Kate Lain

Shapeshifters Cinema
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April 18th, 11am-1:30pm PST
April 25th, 11am-1pm PST
Virtual meeting via Zoom


$60 - regular registration + sponsorship for one low-cost/student registrant (includes materials kit)
$40 - regular registration (includes materials kit)
$20 - low cost/student registration (includes materials kit)

(Shapeshifters members receive a 10% discount)

We understand that times are tough, so we are making this workshop available on a sliding scale basis. Students and those on a fixed income may sign up at the $20 level. If you are able to sign up at the $60 level, your registration fee will also help sponsor one low-cost/student registrant. Everyone else is requested to sign up at the $40 level. 

Cyanotype is a blue-and-white photographic process dating back to the 1840s.  In this at-a-distance introductory workshop, we will explore creating cyanotypes on both paper and cotton fabric using sunlight, water, plant matter, and found objects.  You’ll get a kit in the mail containing pre-treated paper and fabric, along with some other goodies, and artist Kate Lain will walk you through the process of exposing and developing cyanotypes via Zoom.  The emphasis of the workshop will be on experimentation and playing with materials, rather than on precision. 

Session 1 will focus on the basics of exposing and developing, as well as ideas for experimentation to stretch the boundaries of what you might normally see in "sun prints." In Session 2, we'll do some show and tell and look at ways to alter completed cyanotypes. Both sessions of the workshop will be primarily instruction, demonstration, and discussion.  Participants will do much or all of their own cyanotype-making after the first session, rather than during the session.

Kate Lain is a Los Angeles–area multidisciplinary artist working in film, video, clay, and other media. In her varied works, she plays with material, texture, traces, and movement and is interested in ways people understand and interact with nature. Her preoccupations include family, memory, gender, land, texture, color, and place. She is drawn to places where structures and materials break down. She approaches both her ceramics and cyanotypes (and, to an increasing degree, her moving image work) as collaborations—with material properties, with objects, with sites, with natural and chemical processes, with weather and other conditions, with the elements of chance that arise from all of these. Intention and discovery are equally important to her process. Her cyanotypes are on the one hand documents, records of experiments and conditions, but they are also ethereal traces of light and chemistry that point beyond the corporeal.