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ARTIST STATEMENT  

My botanical cyanotypes are poetic reflections of the harmonious relationship between plants, flowers, and the sun. Whether they feature native plants, invasive species, or wildflowers, these elements inspire my art practice. Having lived in California for more than a decade, I have developed a deep appreciation for nature and an outdoor lifestyle.
The diverse landscapes — from its rugged coastline to its vast deserts and lush forests — have provided endless inspiration for my work,
each environment offering unique plant specimens that influence my cyanotype prints. 

Whenever I go hiking, camping, or even on a walk around my neighborhood, I constantly observe the plants around me — their organic shapes, the density of their leaves, and how they might translate into cyanotype prints. This curiosity marks the first step of my creative process. I often carry gardening scissors in my bag to trim specimens, while other times I revisit the same location multiple times to collect plants thoughtfully.

Cyanotype, with its ability to render images in shades of blue, stands out as my preferred photographic process among the various alternatives. Its hue always evokes thoughts of the ocean, a longing that resides within me constantly. And the color of blue has scientifically proven
to have a calming effect on human psyches, bringing serenity to our daily lives. 

This process involves a light-sensitive solution created using equal parts ferric ammonium citrate and potassium ferricyanide, which becomes reactive to sunlight when combined. It’s one of the alternative photographic processes developed in late 18th century.

To create a cyanotype print, I begin by mixing the solution and coating
it onto a sheet of paper with a bristle paintbrush. I typically prepare my cyanotype papers at night, allowing them to air dry overnight before storing them in black bags to protect them from light until I’m ready to use them. Once ready, I arrange collected plants on a sheet of prepared paper, carefully composing each arrangement.  A sheet of clear glass is then placed over the plants to secure them, and expose them outdoors using natural sunlight. The exposure time varies based on light conditions, including the time of day, weather, and the objects used. After exposure, I remove the plants and rinse the print with water. While I usually develop prints in my bathtub, I have also successfully used lake water for this step.

The final images are a reserved representation of nature: the areas where plants block sunlight remain white, while the exposed areas turn blue. As the prints air dry, their colors deepen, further enriching the visual impact.

I frame my original cyanotypes behind UV acrylics (99% uv protection)
to preserve them for longevity. Each cyanotype I create is a hand-printed original blueprint — a unique, essential documentation of nature's beauty.