Collaborators: Yael Saiger and Ola Jachtorowicz
Cyanotypes were first discovered by Sir John Hershel in the 19th century through a clever concoction of ferric ammonium citrate and potassium ferricyanide. Early botanists, like Anna Atkins, used cyanotypes to capture intricate details of natural wonders, imprinting the indigo hue across photographic history. Eventually, his method transcended its scientific roots, becoming a tool for avant-garde expression. Today, artists continue to embrace the cyanotype as a vintage yet versatile medium, maintaining its relevance in the modern creative landscape. It's a testament to the enduring appeal of this process, where chemistry meets craftsmanship in a compelling blend of history and design.
Shibori, a traditional Japanese resist-dyeing method, boasts a rich history dating back to 238CE. The name, "shibori," originates from the Japanese verb, "shiboru," meaning squeeze or wring. This intricate art form began as a practical means of enhancing the aesthetics of textiles in the eighth century. Over time, shibori evolved into a diverse range of techniques, each yielding distinct patterns. In the 20th century, shibori experienced a resurgence as artists and designers rediscovered its potential for creative exploration. Artists like Itchiku Kubota revitalized shibori by pushing its boundaries, creating breathtaking kimono art that blended traditional techniques with contemporary vision.
Shibori Cyanotypes merge the two techniques, applying the chemical properties of cyanotypes and the tie-dye methods of shibori, to make patterned modern ink-prints.
For these instructions, we used pretreated cyanotype fabric from Jacquard Products. Once the fabric is wrapped or pleated using the shibori techniques, place it under an ultraviolet (UV) lamp or under the sun and let it sit for around ten minutes. Optionally, flip the fabric around to expose all sides to UV rays. Once the fabric is exposed, thoroughly rinse the fabric under water and let the fabric dry. The color will start as a light yellow-green and as the dye oxidizes, a rich Prussian blue will develop.
The fabric is first coated in a mixture of ferric ammonium citrate (in modern times, ferric ammonium oxalate is used) and potassium ferricyanide and left to dry. Once dry, the fabric can be exposed to ultraviolet rays, which have enough energy to initiate a photochemical reaction in the iron compounds (ferric). When the iron(III) gets excited by this energy, it undergoes a redox reaction, gaining an electron and turning into iron(II). The iron(II) is then able to react with the potassium ferricyanide, forming the insoluble ferric ferrocyanide (Prussian blue). The fabric is then washed to remove any water-soluble chemicals, stopping all further reactions.