Celebrating Cyanotype: A Special Exhibition Honouring Anna Atkins
Cyanotype has been part of my creative world for a while now, and I’m thrilled to have one of my works included in Cyanotype Currents: Contemporary Abstractions in Cameraless Photography, one part of an exhibition celebrating the legacy of Anna Atkins. The Griffin Museum of Photography and LENSCRATCH have curated a collection of contemporary cyanotype works that bring together artists from around the world. The exhibition, The 226th Anna Atkins Birthday Exhibition, showcases the endless possibilities of this beautiful 180-year-old process.
The image below offers a glimpse into the exhibition. Click to explore the full collection. My artwork, Untitled, is featured in Cyanotype Currents: Contemporary Abstractions in Cameraless Photography.
A Deep Love for Cyanotype
I was first introduced to cyanotype over eight years ago by fellow artist Cholena Drew-Hughes, who creates stunning flora and fauna-inspired mixed-media cyanotypes. The deep, rich Prussian blues instantly captivated me. I’ve been exploring, playing and experimenting with the process ever since. As I researched more about cyanotype’s origins, I learned the story of Anna Atkins – a woman whose groundbreaking contributions were nearly erased from history.
Anna Atkins created the world’s first photographic botanical reference book, using cyanotype prints of seaweed and plants. Her first book was created in the 1840s. She signed her work with her initials “AA”. After her death in 1871, the initials on her works were attributed to “Anonymous Amateur”, and her name was lost for around 100 years. It wasn’t until the 1970s that someone realised “AA” were the initials of Anna Atkins, restoring her rightful place in photography’s history.
I’m thrilled to celebrate Anna Atkins and her groundbreaking work. Like many pioneering women, her contributions were overlooked, misattributed or lost to history. It’s time to reclaim and honour the women who have shaped art, science, and culture – past and present!
This exhibition is a beautiful tribute to her work and to the cyanotype process itself, which continues to evolve and inspire artists today.
The piece included in this special exhibition, Untitled, is one of my all-time favourite cyanotypes. Created in 2021, it’s a wet cyanotype on Fleur de Coton printmaking paper, made during a time of experimentation and play. That spirit of curiosity – asking “what happens if I…?” – has gone on to shape much of my newer work.
Wet cyanotype is an unpredictable and exciting variation of the traditional process. By introducing water during exposure, unexpected colours and textures emerge, pushing the boundaries of what cyanotype can be.
This piece found its way to a very special home with a collector in late 2021. Its inclusion in Cyanotype Currents: Contemporary Abstractions in Cameraless Photography makes it even more special. It is a privilege to see it showcased alongside the work of so many talented cyanotype artists from all corners of the world.
Click here to see the exhibition online, or watch the video below (where I recently worked out how to record onscreen-scrolling to make a video of the artworks included in the Cyanotypes Currents exhibition).
Below are a few more recent wet cyanotype artworks. You can see more here. I’m getting ready to start a new collection. A benefit of the intense UV radiation in my corner of Australia is that I can create cyanotype prints year-round. I avoid the peak of summer due to the heat. Autumn is my favourite time – enough strong UV and daylight for loooong exposures while still being comfortable. If you’re interested, have a look at my online shop for cyanotype prints available for sale.
Teaching Cyanotype & Pushing Boundaries
Cyanotype is one of those magical processes that is both easy to learn and endlessly open to experimentation. I teach in-person cyanotype workshops in Maleny, where students learn the same techniques Anna Atkins used back in the 1840s. My online cyanotype workshop also guides students through the process, with an advanced version coming soon, where I’ll share exactly how I created works like Untitled.
I love that cyanotype is experiencing a resurgence. It is accessible, beautiful and endlessly experimental. This exhibition highlights just how diverse and innovative cyanotype work can be, and I’m so excited to be part of it.
Here’s to the power of blue, the joy of experimentation, and the legacy of Anna Atkins!
