Ordinary translucent objects placed on paper painted with cyanotype chemicals result in strangely unrecognizable negative imagery. This light-sensitive process results in a deep blue color when exposed to the sun or to ultraviolet light.

In this series, I’ve worked with maps from the 1911 survey of the Seattle waterfront. They also resolve into familiar but ambiguous patterns. I draw with an electrically-charged stylus on a copper table, resulting in lines made up of burned holes, which are repeated in stenciled vermilion pigment.