Anne Gabriele’s work, “Watermarks” was a 2025 Denis Roussel Work of Merit Award as selected by Christopher James.
“For me, the simplicity of each singular image is their power to evoke and represent the gracefulness and elegance of the portfolio and its intentions. I’ve spent a significant portion of my life in the ocean as a SCUBA diver and each immersion in that realm, in the day or night, had its own narrative and collaborative meaning. When I read your statement, that these elementary abstractions, performed as hand-painted cyanotypes on watercolor substrates, were done in daylight, on the seashore, in collaboration with the ocean and the beach itself, I was so impressed. It reminded me of the many times I experienced making cyanotype murals with children at the beach, racing into the ocean at the end of the exposure with the exposed cyanotype sensitized fabric to wash it out, and the joy that that physical act of creation inspired in the kids who were the subjects of the mural. As well, the fragile and undefined memories of being in the ocean’s influence, moving with the currents and the 360-degree ungrounded experience of immersion. Most of all, I love your working with the physical materials of nature to illustrate itself was so embedded in the philosophy of Denis Roussel’s Roussel’s work… and what this important annual competition represents.
The absence of definition of subject invites the viewer to experience their own creative impressions and memories. Your watermark abstractions invite projection, and for me personally, melancholy and a restrained visual philosophy that is embedded in the concept of what is felt — rather than in what is seen. Wonderful work.” Christopher James
Please tell us about yourself.
I was born in Brooklyn and now divide my time between Manhattan and the Hudson
Valley. My work explores the natural world—from the garden to the ocean—using
alternative and historic photographic processes. I’m driven by my fascination with the
subtle shifts and constant cycles of nature, and my desire to capture those transient
moments of beauty.
Where did you get your photographic training?
I was hooked on photography from my first high school class, which led me to study at
the School of Visual Arts in NYC. I began my career in commercial photography as a
studio manager before transitioning to freelance photo styling. Styling has been a
crucial part of my journey, funding my art practice and providing opportunities to
collaborate with a wide variety of talented creatives. I’ve also continued my creative
education through residencies and workshops, including one where I first learned the
cyanotype process some 30 years ago from Christopher James at the Maine
Photographic Workshops.
Who has had an influence on your creative process?
Many artists have influenced my creative process, but my first and most profound
inspiration came from a museum show featuring photographers of the Pictorialism
movement. Seeing the work of artists like Alfred Stieglitz, Edward Steichen, and Julia
Margaret Cameron showed me the artistic potential of photography and I fell in love with
the handmade print.
Tell us about an image that has stayed with you over time.
There are many images that have stayed with me, but one in particular is a seascape by
Tom Baril. I admired the print for years before I finally purchased it. Now, it hangs at the
foot of my bed, and its the first thing I see each morning. Its presence is a quiet
reminder of the beauty found in the natural world.
What image of yours would you say taught you an important lesson?
I learned a crucial lesson early in a class critique: the quality of the photograph isn’t
determined by the camera. The most powerful images can be created using a pinhole
camera, a toy camera, or even by a camera-less process.
Tell us about the work you submitted to Denis Rousell Award.
Watermarks draws inspiration from the ever-changing ocean surf. It explores the
beauty of movement, flow, and transformation. The marks left in the sand, constantly
reshaped by the waves, are a source of fascination for me. For this series, I delve into
the ephemeral nature of the shoreline and the convergence of two elements.
Unlike traditional darkroom prints, these works are created outdoors. I hand paint
watercolor paper with cyanotype and expose it to sunlight. My process involves using
water to interrupt the exposure, creating a balance between deliberate gestural marks
and the spontaneous and unexpected. This allows me to immerse myself in the natural
world and experience the direct and immediate interplay between the sun and water.
What part of image making do you find the most rewarding?
For me, the most rewarding part of the cyanotype process is during the exposure. It’s performance in and of itself, and I find myself watching the changes in color like I watch
the surf. While playing with water, sand and seaweed, I’m constantly watching and
making adjustments, captivated by the way the cyanotype responds to its environment.
How do you work through times when nothing seems to work?
I approach those moments as a conversation with my materials and with nature itself.
When something isn’t working, I first try to understand the issue. If the problem persists,
I find that the best solution is to take a break. I’ve learned that my work is very much a
collaboration with nature, and sometimes, a step back is needed to get back in sync
with the environment and the materials.
What tools have you found essential in the making of your work?
The most essential tool for this work is a water source and the very foundation of my
mark-making; it’s what allows me to create the fluid, textured effects that define my
prints. Whether I’m at the ocean, a river, or a lake, I’m using water to shape the image.
When I’m not near a natural body of water, a simple kiddie pool becomes a valuable
substitute.
Is there something in photography that you would like to try in the future?
I’m always exploring and experimenting with different processes. I’d like to incorporate
gum printing into my cyanotype work. I’ve done some initial explorations and now want
to return to it with a more focused approach. I’m drawn to the unique, painterly quality of
gum prints and believe the rich, organic pigments will create a beautiful layered effect
with cyanotype.
How does your art affect the way you see the world?
My artistic practice has fundamentally shaped the way I experience the world. I’m
constantly observing the quality of light, the subtle shifts and cycles of nature. This
practice has trained me to notice the small, transient moments of beauty, the way the
sun dapples light on a wall or how seaweed arranges itself on the sand. This
heightened awareness is what ultimately inspires my work and drives my creative
process.
What’s on the horizon?
Much of my work is a collaboration with the seasons. As we head into the colder
months, I’ll retreat to my studio to work on my “Quiet Light series”, which explores light as dynamic living presence.
To learn more about the work Anne Gabriele please click on her name.
