Series: Traces (After Anna)
Signature: Signed, Editioned and Dated in pencil Verso
Image rights: (c) Jeri Eisenberg
As I age, it is hard not to think of the physical world’s eternal cycles; of loved ones who have passed; of what’s left to hold on to when we’re gone. Sometimes there are indelible memories; others times, only absences. Mostly, we’re left with vague or fractured remembrances; and, if we’re lucky, a few cherished mementos.
The pieces in this series are traces of weeds, seeds, grasses and vines, as well as other dried and desiccated plant material, gathered during walks - mostly, in the vicinity of my rural home in upstate New York.
The pieces begin as cyanotype photograms, one of the earliest historical photographic processes. I paint the light sensitive chemicals onto artists’ papers, and place plant material directly on the dried surface in the sun. After exposure and processing, I scan the resulting photogram and print a segmented image with pigment inks on panels of Japanese Kozo paper. I infuse the panels with encaustic medium, which provides a luminance and translucency, and, at times, embellish the images with silver pigments, threads or beads.
As a photographer, I embrace the direct and inescapable link between my work and the corporal world. But I strive to convey a sense of the ephemeral, and the intangible that lies beyond mere description. I hope to leave, in one form or another, bits of silver, meditations on the ineffable, and some measure of visual pleasure.
About Jeri Eisenberg
Jeri Eisenberg is a mixed-media photographer of landscapes. “I feel no need to seek out grand vistas or exotic locales, majestic mountain ranges or rushing rivers,” she says. “It’s the common wooded landscape of my day-to-day life that captures my attention.” Eisenberg began her most famous series, “A Sojourn in Seasons: Sketching with Light Among Trees” when her father, then 83, began to lose his memory and sight. “Sojourn” is comprised of five chapters, one for each of four seasons, and the last in black and white. To take the photographs, Eisenberg used radically defocused lenses, or cameras with overly large pinholes. After printing the images on Japanese Kozo paper, Eisenberg adds a layer of encaustic while stretching the paper over a hot metal plate, such that the wax infuses with the paper’s fibers and further blurs the image.