The longer exposures imbue each work with a certain softness that is contrasted by the grid arrangement, which references Robert Smithson’s “Mirror Displacements” and Henry Fox Talbot’s process for making multiples. The resulting images are the visual equivalent of a field recording abstract yet documentary, ephemeral yet firmly rooted in a specific time and place. The prints are then processed in a geodesic dome near Canie Creek, which supplies the necessary water for washing the prints. The images are created by placing light-sensitive paper in close proximity to the subject and exposing it to direct sunlight for anywhere between 10-30 minutes. Born out of creek restoration and erosion control following a 100-year flood event from Tropical Depression Fred, this new work focuses on revisiting specific species of plants growing in and around his home in Asheville, North Carolina.Įach piece is a unique cyanotype based on a modular format using 8 x 10 inches and 11 x 14 inches panels.

Online Artist Talk: October 20, 5pm (PST) | Register hereĮUQINOM Gallery is pleased to present Eric William Carroll’s Field Recordings, a new body of cyanotype works while familiarizing himself with a new landscape, addressing climate anxiety, and revisiting his previous bodies of work (Blue Line of Woods and Plato’s Home Movies) with fresh eyes.

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