Two cyanotype prints of hands with snowflake patterns, each hand raised with fingers spread, on a white background.
X-ray of two hands positioned with palms facing downward, showing bones clearly.
A white lace collar with floral and geometric patterns against a vibrant blue background.
X-ray image of a human skull and spine in blue tones.
A medical X-ray of my human skull and neck in profile view, with a blue filter overlay.
A cyanotype print of a hand with spread fingers reaching downward, with a circular design nearby, set against a textured background.
A monochrome cyanotype portrait of a woman with long, dark hair and a serious expression. My mother's portrait
Silhouette of a plant with multiple leaves, cyanotype print.
monochrome of a fern leaf cyanotype print.
monochrome cyanotype print
Cyanotype Shell imprint photo of a vernacular image of my mother
Cyanotype of a lace collar 
Cyanotypes are one of the earliest photographic printing processes, invented in 1842 by Sir John Herschel, a British scientist and astronomer. The process is known for producing prints in a rich Prussian blue color. The first major artistic and scientific use came from Anna Atkins, an English botanist and photographer. In 1843, she published Photographs of British Algae: Cyanotype Impressions, considered the first book illustrated with photographic images. Atkins used cyanotypes to record delicate botanical specimens like algae, ferns, and flowers—her work combined science and art. 

  My Cyanotype project emerges from what I call my blue period, a body of work shaped by the grief of my mother’s death. Using the materials she left behind, her personal objects, I print cyanotypes of her image and her objects, transforming remnants of her life into lasting impressions. This process is both an act of preservation and self-discovery: a way of keeping her memory alive while navigating my own shifting identity in the aftermath of loss.

CYANOTYPES