THEA CLARK

Brooch, 2014, wood, cyanotype on silk, tinted plastic, nickel silver, sterling.

   From the series , "Fluidity and Form" (2010-2014), which uses photograms (objects placed directly on photosensitive material) and cyanotypes (transparencies placed on photosensitive material). The images are created to reference ideas of genderedness, and are also inspired by Man Ray's photograms. Incorporating the abstract use of objects such as pearls or wood shavings, diagrams, and text, in order to relate them to their male or female associations. This is further emphasized by placing the blue images in pink framing.

An investigation into the nature of identity provided inspiration for the  Fluidity and Form series. These works evoke dualities: male and female, anima and animus, yin and yang, stasis and change. The cyanotype images can be seen as fragments of memory, abstracted elements of a changing narrative that add up to a notion of self. They were captured on silk using UV light and water and are rendered in the classic blue color of this early photographic process. Like dermis over muscle, the tinted pink plastic both obscures and unifies the structure underlying it. Alternatively, these pink plastic forms can be read in relation to time. Are they becoming?  Solidifying the ephemeral?  Or reversing the process, dissolving, and disintegrating?

Cyan Breastplate, necklace, wood, pvc, cyanotype on silk, tinted plastic, silver, 2014.

   From the series , "Fluidity and Form" (2010-2014), which uses photograms (objects placed directly on photosensitive material) and cyanotypes (transparencies placed on photosensitive material). The images are created to reference ideas of genderedness, and are also inspired by Man ray's photograms. Incorporating the abstract use of objects such as pearls or wood shavings, diagrams, and text, in order to relate them to their male or female associations. This is further emphasized by placing the blue images in pink framing.

An investigation into the nature of identity provided inspiration for the  Fluidity and Form series. These works evoke dualities: male and female, anima and animus, yin and yang, stasis and change. The cyanotype images can be seen as fragments of memory, abstracted elements of a changing narrative that add up to a notion of self. They were captured on silk using UV light and water and are rendered in the classic blue color of this early photographic process. Like dermis over muscle, the tinted pink plastic both obscures and unifies the structure underlying it. Alternatively, these pink plastic forms can be read in relation to time. Are they becoming?  Solidifying the ephemeral?  Or reversing the process, dissolving, and disintegrating?

Brooch, 2011, wood, pvc, plexiglass, nickel, tinted plastic, cyanotype on silk. (Multiple Exposures: Jewelry and Photography exhibition and catalogue, Museum of Arts and Design, NYC, 2104)

    From the series , "Fluidity and Form" (2010-2014), which uses photograms (objects placed directly on photosensitive material) and cyanotypes (transparencies placed on photosensitive material). The images are created to reference ideas of genderedness, and are also inspired by May Ray's photograms. Incorporating the abstract use of objects such as pearls or wood shavings, diagrams, and text, in order to relate them to their male or female associations. This is further emphasized by placing the blue images in pink framing.

An investigation into the nature of identity provided inspiration for the Fluidity and Form series. These works evoke dualities: male and female, anima and animus, yin and yang, stasis and change. The cyanotype images can be seen as fragments of memory, abstracted elements of a changing narrative that add up to a notion of self. They were captured on silk using UV light and water and are rendered in the classic blue color of this early photographic process. Like dermis over muscle, the tinted pink plastic both obscures and unifies the structure underlying it. Alternatively, these pink plastic forms can be read in relation to time. Are they becoming?  Solidifying the ephemeral?  Or reversing the process, dissolving, and disintegrating?

Root necklace, 2011, plastic, cyanotype on silk, wood, nickel silver, sterling, cotton, pvc  (Multiple Exposures: Jewelry and Photography exhibition and catalogue, Museum of Arts and Design, NYC, 2104).

   From the series , "Fluidity and Form" (2010-2014), which uses photograms (objects placed directly on photosensitive material) and cyanotypes (transparencies placed on photosensitive material). The images are created to reference ideas of genderedness, and are also inspired by the photograms of Man Ray. Incorporating the abstract use of objects such as pearls or wood shavings, diagrams, and text, in order to relate them to their male or female associations. This is further emphasized by placing the blue images in pink framing.

An investigation into the nature of identity provided inspiration for the Fluidity and Form series. These works evoke dualities: male and female, anima and animus, yin and yang, stasis and change. The cyanotype images can be seen as fragments of memory, abstracted elements of a changing narrative that add up to a notion of self. They were captured on silk using UV light and water and are rendered in the classic blue color of this early photographic process. Like dermis over muscle, the tinted pink plastic both obscures and unifies the structure underlying it. Alternatively, these pink plastic forms can be read in relation to time. Are they becoming?  Solidifying the ephemeral?  Or reversing the process, dissolving, and disintegrating?

Neck piece, wood, brass, nickel, tinted plastic, cyanotype on silk, 2012.

   From the series , "Fluidity and Form" (2010-2014), which uses photograms (objects placed directly on photosensitive material) and cyanotypes (transparencies placed on photosensitive material). The images are created to reference ideas of genderedness and are also inspired by Man Ray's photograms.. Incorporating the abstract use of objects such as pearls or wood shavings, diagrams, and text, in order to relate them to their male or female associations. This is further emphasized by placing the blue images in pink framing.

An investigation into the nature of identity provided inspiration for the Fluidity and Form series. These works evoke dualities: male and female, anima and animus, yin and yang, stasis and change. The cyanotype images can be seen as fragments of memory, abstracted elements of a changing narrative that add up to a notion of self. They were captured on silk using UV light and water and are rendered in the classic blue color of this early photographic process. Like dermis over muscle, the tinted pink plastic both obscures and unifies the structure underlying it. Alternatively, these pink plastic forms can be read in relation to time. Are they becoming?  Solidifying the ephemeral?  Or reversing the process, dissolving, and disintegrating?

Cyan Growth, necklace, 2012, wood, nickel, brass, silver, tinted plastic, cyanotype on silk.

   From the series , "Fluidity and Form" (2010-2014), which uses photograms (objects placed directly on photosensitive material) and cyanotypes (transparencies placed on photosensitive material). The images are created to reference ideas of genderedness and are also inspired by Man ray's phtograms. Incorporating the abstract use of objects such as pearls or wood shavings, diagrams, and text, in order to relate them to their male or female associations. This is further emphasized by placing the blue images in pink framing.

An investigation into the nature of identity provided inspiration for the  from my Fluidity and Form series. These works evoke dualities: male and female, anima and animus, yin and yang, stasis and change. The cyanotype images can be seen as fragments of memory, abstracted elements of a changing narrative that add up to a notion of self. They were captured on silk using UV light and water and are rendered in the classic blue color of this early photographic process. Like dermis over muscle, the tinted pink plastic both obscures and unifies the structure underlying it. Alternatively, these pink plastic forms can be read in relation to time. Are they becoming?  Solidifying the ephemeral?  Or reversing the process, dissolving, and disintegrating?

   From the series , "Fluidity and Form" (2010-2014), which uses photograms (objects placed directly on photosensitive material) and cyanotypes (transparencies placed on photosensitive material). The images are created to reference ideas of genderedness and are also inspired by Man Ray's photograms. Incorporating the abstract use of objects such as pearls or wood shavings, diagrams, and text, in order to relate them to their male or female associations. This is further emphasized by placing the blue images in pink framing.

An investigation into the nature of identity provided inspiration for the  Fluidity and Form series. These works evoke dualities: male and female, anima and animus, yin and yang, stasis and change. The cyanotype images can be seen as fragments of memory, abstracted elements of a changing narrative that add up to a notion of self. They were captured on silk using UV light and water and are rendered in the classic blue color of this early photographic process. Like dermis over muscle, the tinted pink plastic both obscures and unifies the structure underlying it. Alternatively, these pink plastic forms can be read in relation to time. Are they becoming?  Solidifying the ephemeral?  Or reversing the process, dissolving, and disintegrating?

Brooch, 2010, plastic, paper, wood, nickel, tinted plastic, cyanotype on silk, pearls.

   From the series , "Fluidity and Form" (2010-2014), which uses photograms (objects placed directly on photosensitive material) and cyanotypes (transparencies placed on photosensitive material). The images are created to reference ideas of genderedness, and are also inspired by Many Ray's photograms. Incorporating the abstract use of objects such as pearls or wood shavings, diagrams, and text, in order to relate them to their male or female associations. This is further emphasized by placing the blue images in pink framing.

An investigation into the nature of identity provided inspiration for the Fluidity and Form series. These works evoke dualities: male and female, anima and animus, yin and yang, stasis and change. The cyanotype images can be seen as fragments of memory, abstracted elements of a changing narrative that add up to a notion of self. They were captured on silk using UV light and water and are rendered in the classic blue color of this early photographic process. Like dermis over muscle, the tinted pink plastic both obscures and unifies the structure underlying it. Alternatively, these pink plastic forms can be read in relation to time. Are they becoming?  Solidifying the ephemeral?  Or reversing the process, dissolving, and disintegrating?

Brooch, 2010, wood, copper, plexiglass, tinted plastic, cyanotype on silk.

   From the series , "Fluidity and Form" (2010-2014), which uses photograms (objects placed directly on photosensitive material) and cyanotypes (transparencies placed on photosensitive material). The images are created to reference ideas of genderedness, and are also inspired by Man Ray's photograms. Incorporating the abstract use of objects such as pearls or wood shavings, diagrams, and text, in order to relate them to their male or female associations. This is further emphasized by placing the blue images in pink framing.

An investigation into the nature of identity provided inspiration for the  Fluidity and Form series. These works evoke dualities: male and female, anima and animus, yin and yang, stasis and change. The cyanotype images can be seen as fragments of memory, abstracted elements of a changing narrative that add up to a notion of self. They were captured on silk using UV light and water and are rendered in the classic blue color of this early photographic process. Like dermis over muscle, the tinted pink plastic both obscures and unifies the structure underlying it. Alternatively, these pink plastic forms can be read in relation to time. Are they becoming?  Solidifying the ephemeral?  Or reversing the process, dissolving, and disintegrating?

Brooch, 2010, nickel, plastic, shell, pearl, bone, tinted plastic, cyanotype on silk.

   From the series , "Fluidity and Form" (2010-2014), which uses photograms (objects placed directly on photosensitive material) and cyanotypes (transparencies placed on photosensitive material). The images are created to reference ideas of genderedness, and are also inspired by man Ray's photograms. Incorporating the abstract use of objects such as pearls or wood shavings, diagrams, and text, in order to relate them to their male or female associations. This is further emphasized by placing the blue images in pink framing.

An investigation into the nature of identity provided inspiration for the Fluidity and Form series. These works evoke dualities: male and female, anima and animus, yin and yang, stasis and change. The cyanotype images can be seen as fragments of memory, abstracted elements of a changing narrative that add up to a notion of self. They were captured on silk using UV light and water and are rendered in the classic blue color of this early photographic process. Like dermis over muscle, the tinted pink plastic both obscures and unifies the structure underlying it. Alternatively, these pink plastic forms can be read in relation to time. Are they becoming?  Solidifying the ephemeral?  Or reversing the process, dissolving, and disintegrating?

Brooch, 2010, wood, copper, plexiglass, tinted plastic, cyanotype on silk.

   From the series , "Fluidity and Form" (2010-2014), which uses photograms (objects placed directly on photosensitive material) and cyanotypes (transparencies placed on photosensitive material). The images are created to reference ideas of genderedness, and are also inspired by Man Ray's photograms. Incorporating the abstract use of objects such as pearls or wood shavings, diagrams, and text, in order to relate them to their male or female associations. This is further emphasized by placing the blue images in pink framing.

An investigation into the nature of identity provided inspiration for the  Fluidity and Form series. These works evoke dualities: male and female, anima and animus, yin and yang, stasis and change. The cyanotype images can be seen as fragments of memory, abstracted elements of a changing narrative that add up to a notion of self. They were captured on silk using UV light and water and are rendered in the classic blue color of this early photographic process. Like dermis over muscle, the tinted pink plastic both obscures and unifies the structure underlying it. Alternatively, these pink plastic forms can be read in relation to time. Are they becoming?  Solidifying the ephemeral?  Or reversing the process, dissolving, and disintegrating?

Brooch, 2011, wood, nickel, silver, 22k gold, tinted plastic, cyanotype on silk.

   From the series , "Fluidity and Form" (2010-2014), which uses photograms (objects placed directly on photosensitive material) and cyanotypes (transparencies placed on photosensitive material). The images are created to reference ideas of genderedness, and are also inspired by Man Ray's photograms. Incorporating the abstract use of objects such as pearls or wood shavings, diagrams, and text, in order to relate them to their male or female associations. This is further emphasized by placing the blue images in pink framing.

An investigation into the nature of identity provided inspiration for the  Fluidity and Form series. These works evoke dualities: male and female, anima and animus, yin and yang, stasis and change. The cyanotype images can be seen as fragments of memory, abstracted elements of a changing narrative that add up to a notion of self. They were captured on silk using UV light and water and are rendered in the classic blue color of this early photographic process. Like dermis over muscle, the tinted pink plastic both obscures and unifies the structure underlying it. Alternatively, these pink plastic forms can be read in relation to time. Are they becoming?  Solidifying the ephemeral?  Or reversing the process, dissolving, and disintegrating?

Brooch, 2012, wood, nickel, tinted plastic, cyanotype on silk, cotton.

   From the series , "Fluidity and Form" (2010-2014), which uses photograms (objects placed directly on photosensitive material) and cyanotypes (transparencies placed on photosensitive material). The images are created to reference ideas of genderedness, and are also inspired by man Ray's photograms. Incorporating the abstract use of objects such as pearls or wood shavings, diagrams, and text, in order to relate them to their male or female associations. This is further emphasized by placing the blue images in pink framing.

An investigation into the nature of identity provided inspiration for the  Fluidity and Form series. These works evoke dualities: male and female, anima and animus, yin and yang, stasis and change. The cyanotype images can be seen as fragments of memory, abstracted elements of a changing narrative that add up to a notion of self. They were captured on silk using UV light and water and are rendered in the classic blue color of this early photographic process. Like dermis over muscle, the tinted pink plastic both obscures and unifies the structure underlying it. Alternatively, these pink plastic forms can be read in relation to time. Are they becoming?  Solidifying the ephemeral?  Or reversing the process, dissolving, and disintegrating?

Necklace, 2010, pvc, plexiglass, steel, cyanotype on silk, tinted plastic, cotton.

   From the series , "Fluidity and Form" (2010-2014), which uses photograms (objects placed directly on photosensitive material) and cyanotypes (transparencies placed on photosensitive material). The images are created to reference ideas of genderedness, and are also inspired by man Ray's photograms. Incorporating the abstract use of objects such as pearls or wood shavings, diagrams, and text, in order to relate them to their male or female associations. This is further emphasized by placing the blue images in pink framing.

An investigation into the nature of identity provided inspiration for the  Fluidity and Form series. These works evoke dualities: male and female, anima and animus, yin and yang, stasis and change. The cyanotype images can be seen as fragments of memory, abstracted elements of a changing narrative that add up to a notion of self. They were captured on silk using UV light and water and are rendered in the classic blue color of this early photographic process. Like dermis over muscle, the tinted pink plastic both obscures and unifies the structure underlying it. Alternatively, these pink plastic forms can be read in relation to time. Are they becoming?  Solidifying the ephemeral?  Or reversing the process, dissolving, and disintegrating?

2010.

   From the series , "Fluidity and Form" (2010-2014), which uses photograms (objects placed directly on photosensitive material) and cyanotypes (transparencies placed on photosensitive material). The images are created to reference ideas of genderedness, and are also inspired by man Ray's photograms. Incorporating the abstract use of objects such as pearls or wood shavings, diagrams, and text, in order to relate them to their male or female associations. This is further emphasized by placing the blue images in pink framing.

 Fluidity and Form series. These works evoke dualities: male and female, anima and animus, yin and yang, stasis and change. The cyanotype images can be seen as fragments of memory, abstracted elements of a changing narrative that add up to a notion of self. They were captured on silk using UV light and water and are rendered in the classic blue color of this early photographic process. Like dermis over muscle, the tinted pink plastic both obscures and unifies the structure underlying it. Alternatively, these pink plastic forms can be read in relation to time. Are they becoming?  Solidifying the ephemeral?  Or reversing the process, dissolving, and disintegrating?

Ring, 2012,wood, silver, copper, tinted plastic, cyanotype on silk.

   From the series , "Fluidity and Form" (2010-2014), which uses photograms (objects placed directly on photosensitive material) and cyanotypes (transparencies placed on photosensitive material). The images are created to reference ideas of genderedness, and are also inspired by Man Ray's photograms. Incorporating the abstract use of objects such as pearls or wood shavings, diagrams, and text, in order to relate them to their male or female associations. This is further emphasized by placing the blue images in pink framing.

An investigation into the nature of identity provided inspiration for the  Fluidity and Form series. These works evoke dualities: male and female, anima and animus, yin and yang, stasis and change. The cyanotype images can be seen as fragments of memory, abstracted elements of a changing narrative that add up to a notion of self. They were captured on silk using UV light and water and are rendered in the classic blue color of this early photographic process. Like dermis over muscle, the tinted pink plastic both obscures and unifies the structure underlying it. Alternatively, these pink plastic forms can be read in relation to time. Are they becoming?  Solidifying the ephemeral?  Or reversing the process, dissolving, and disintegrating?

Donated to the Smithsonian Show Women’s Committee auction

Cyan Silhouettes- Works By Anna Marvarotis and Thea Clark, Houston Center of Contemporary Craft, curated by Kathryn Hall, 2014

"Cyan Silhouettes: Works by Anna Mavromatis and Thea Clark", Houston Center of Contemporary Craft, curated by Kathryn Hall, 2014.

Cyan House, neckpiece

"Cyan Silhouettes; Works by Anna Mavromatis and Thea Clark", Houston Center of Contemporary Craft, curated by Kathryn Hall, 2014