Jeri Eisenberg, ‘Warm Waters, No. 2’, Wall Space Gallery

Series: Warm Waters

Signature: signed, dated and editioned in pencil verso

Image rights: (c) Jeri Eisenberg

I grew up near the ocean. Not on the ocean, or by the ocean, but close enough so that many long, languid summer days of my childhood were spent there with family, jumping waves and playing in the sand. Adolescence may have changed my companions on the beach blankets, but the ocean remained the backdrop of many halcyon days of warm water and warmer sand.

I no longer live near the ocean, but its power and beauty still beckon. Its rhythms are eternal; its majesty, even when cruel, undeniable. This series looks, with perhaps a bit of nostalgia, at the ocean’s cresting and crashing waves, as well as its more tranquil blue/green swells. “It is a wholesome and necessary thing for us to turn again to the earth and in the contemplation of her beauties to know the sense of wonder and humility.” (Rachel Carson)

And to appreciate the importance of its care and protection.

These images are first printed with water-soluble, dye-based inks. This lets me brush or spray the printed images with water to make the dyes run in selected areas. It gives the imagery a very unusual quality as the dyes puddle and pool, and hues that lie just below the surface are brought forward to alter the photographic nature of the initial imagery. Those altered prints are then scanned, printed on long panels of Japanese Kozo paper with archival pigment inks (which are not water soluble), and then infused with molten encaustic medium. This makes the final pieces translucent in highlight areas and allows the work to hang without glazing.

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.