Lindsey: My mentor told me he was the only one who had the “wingspan” to pour and develop a plate that size. And people sometimes ask me if an assistant, (perhaps a tall man like Scott) pours the plates for me. No, I pour and develop the plates. Actually, I look forward to the day when someone pours my plates and I can focus more on directing the shoot. But for now, yes, as a 5 ft 4 in woman I pour the 32x24in plates.
I mention this to underscore that physical stature is not an absolute for pouring plates. I think it is more about balance than it is about wingspan. Furthermore, I don’t think just because you pour your own plate by yourself it makes your work more legitimate than those who do not. Perhaps, I won’t always pour my own plates and it won’t make me less of a collodion artist for it.
When did this body of landscape mining ruins start?
In June 2016 I had started taking 20x24in landscapes of mining ruins in Telluride, CO. This particular photo was taken up at the Tomboy Mine. This mining ghost town was bustling in the 1880’s with a population of about 1,000 people. The town sits at 11,500 feet high above Telluride.
This was all a part of a body of work of high altitude mining ruins for an exhibition with my friend and artist R. Nelson Parrish in September in Santa Barbara. After shooting mining ruins near Telluride I wanted to shoot some mining ruins in California. The highest altitude mining ghost town I could find was Cerro Gordo which sits at 7,000 ft above Death Valley.
I was safe but shaken. Some pieces of my equipment had fallen out of my truck, several sheets of glass stashed behind the passenger seat had shattered. The plate from Tomboy Mine which was behind the passenger seat was broken in a perfect diagonal.
My friend who was assisting me, Macy Pryor and Telluride local, came to pick me up. I had totalled my truck. We still shot up at the mine with the help of some locals who hauled my equipment.
This work was made as a part of my artist residency with Budapest Art Factory in April and May 2019. I learned about the residency when I went to one of John Chiara’s exhibitions at Yossi Milo in September 2018. I inquired with the Art Factory about the residency, applied and was accepted.
And John was going to return for another residency so the BAF coordinated the residency so John and I would be there at the same time. The whole experience was amazing. I learned so much working alongside my entire art cohort there and it was so special to learn about John’s creative process and how he works day to day.
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