Today we share the work of Claudia Hollister. Claudia’s portfolio was chosen as a Work of Merit in the 2024 Rfotofolio Call.
“Among the 19th century photographic printing processes, I have always found the cyanotype to be one of the more difficult and challenging to get right- despite its reputation for being simple and straightforward. But when someone takes the time and gets it so right, the results are nothing short of magical. These stunningly rich cyanotypes are like magic, timeless in their subject matter, tactile, and intoxicating in their lush tones of blue. Such richness found in the deepest of blues contrasted with equally delicate and detailed highlights enhances the imagery. Not only masterfully executed, the images practically jump off the page, offering both clarity and softness. The compositions are thoughtful and spot-on, and the interplay of light is nothing short of mesmerizing.” Diana Bloomfield
Would you please tell us about yourself?
I grew up in the beautiful Willamette Valley of Oregon, and am currently living in Portland. Having been a working artist all of my adult life, a jeweler, porcelain artist, encaustic painter, and now a Cyanotype artist. Each of these mediums have deeply influenced my visual vocabulary and creative expression.
In 2014, I was exposed to cyanotypes by Timothy McDowell, art professor at Connecticut Collage, long story, he held a three day workshop in my studio teaching how to make cyanotypes. In the beginning I loved that I could actually print photographs without using a dark room. I first started creating my own hand painted transparency films for cyanotype backgrounds in my encaustic paintings to develop a dialect of pattern to frame my dimensional vessels.
During Covid lockdown, I turned to my garden to breath fresh air and enjoy the calm of my personal sanctuary. I found myself capturing floral images in the natural morning light in my studio using my iPhone. The intoxicating blues of cyanotypes seemed perfect for creating vintage modern compositions resulting in intimate lush floral prints. This is the fourth year documenting the cycle of seasonal garden blooms in a uniquely beautiful and sometimes mysterious format
Where did you get your photographic training?
Having no formal photographic training, I just really dove deep into experimenting for a year expanding on what basics I new about making cyanotypes, as I have done with every medium. It helps me find my authentic voice. I consider myself a cyanotype artist who utilizes photography as a way capture how I visualize my garden. Each year as my work grows I am committed to challenging myself to discover more ways create beautiful work with the unpredictable medium of cyanotypes.
Who has had an influence on your creative process?
Timothy McDowell for exposing me to the basics for making cyanotypes to begin with. He is an amazing artist, instructor and friend, I am so grateful for his support. Really all the alternative artists on Instagram, for being such a sharing community, with different perspectives and visions, and the respect for each others individuality.
Please tell us about an image (not your own) that has stayed with you over time.
It is hard to select just one, “Magnolia Blossom”, by Imogen Cunningham. It is simply beautiful.
What image of yours would you say taught you an important lesson?
“Vintage Fritillaria”, from April 2021. I had just made the decision to switch papers, from Stonehenge printmaking paper to Sekishu Japanese paper. The difference in tonal quality and a lustrous sheen complemented the simple composition of the photograph and shadows, gave me an unexpected gift, a beautiful image that speaks to many. I have learned that every paper has it’s own unique qualities and limitations.
Please tell us about the work you submitted to The Rfotofolio Call.
I submitted work from my on going documentation of flowers from my garden that started during Covid. These cyanotype prints are from my collection of photographs taken in 2024. I added a few new vintage vessels to help tell the visual story for each composition. Every year I continue to plant new flowers to photograph, as well as revisit existing favorites, while attempting to keep the images fresh. For the first thirty years as an artist I worked in three dimension. The tactile quality working with your hands in the crafts is not only satisfying but also rewarding. I have always had the ability to view something flat as 3D. My goal is to create cyanotype prints that draws someone in to feel the dimensional aspects of the floral print through the textures and tonal qualities of the beautiful blues that one can only achieve in cyanotypes.
What part of image-making do you find the most rewarding?
The most rewarding aspects are the happy mistakes and unexpected outcomes. Cyanotypes are not an exact science, the outcomes are often hard to reproduce due many factors. Light source, timing, UV solution, negative transparency films, paper choices all factor into the equation.
How do you work through times when nothing seems to work?
When this happens I usually start fresh the next day with an “I can do this attitude”, it mostly works. That being said, there are times when I thought I had a great set of images and created the negative transparency films, printed them and they all came out looking extremely flat! I do find some flowers no matter how beautiful can’t be fully captured in this process. I am not a photoshop person and keep my process as simple as possible, when it’s not right I move on!
What tools have you found essential in the making of your work?
My most essential tools are my iPhone I use to photograph with and the manual timer, otherwise I loose track of time.
Is there something in photography that you would like to try in the future?
Soon I will be exploring printing cyanotypes on translucent silk. I have an idea how I would like to use it. That is all I can say about this project right now, I hope to start working on it in January.
How does your art affect the way you see the world?
I have always tried to keep an aspect of bringing the beauty of nature into my work when ever possible. Being someone who grew up grounded in nature I feel comfortable to share the love of my garden through my art. The practice of making art keeps me sane in a world that feels like it is spinning out of control. It is so rewarding when people are curious, amazed or mesmerized and appreciate the outcome of the process in which it is made.
What’s on the horizon?
This winter I will be focusing on my newer series titled, “Visual Poetry”, consisting of cyanotype collages that show case my garden flowers and collection of antique vessels. The floral narratives are vintage modern and enhanced by the use of unique paper backgrounds printed with unusual materials, often toned changing the blues to other colors. I am also introducing some additional translucent colors into some of the backgrounds adding additional depth when needed. I plan to take them larger and still keep the intimacy of the overall story.
Recently I joined Waterstone Gallery in Portland and will have a solo show in October 2025.
Thank you Claudia.
To learn more about the work of Claudia Hollister please click on her name.
These are some of the most beautiful, lyrical cyanotypes I have seen.
Claudia’s work is exquisite – so delicate and unique with so many subtle tones.