RA4 Color Relief Works
2022–

The RA4 Color Relief works are produced by folding a single sheet of color photographic paper into a free-standing form, exposing it to light, and processing it in a large format RA4 color processor while it is still folded. In short, the paper acts as its own negative, registering the light passing through it, and casting shadows onto itself. The Multi-Sided RA4 Process Color Relief works are exposed to various mixtures of additive color (red, green, blue) or subtractive color (cyan, magenta, yellow). The Single-Sided RA4 Full-Spectrum Color Relief works are exposed to full spectrum white light, at an intensity that causes the photographic emulsion to reach its maximum density black (or “D-max”), wherever the paper casts a shadow onto its own surface, a color range is evident which follows the translucency and orientation of the paper. The specific colors of light are noted in the titles of the works with the abbreviations R, G, B, C, M, Y; in the case of the Single-Sided RA4 Full-Spectrum Color Relief works, the term D-max is used. Like the other color photographic paper-based works, this process takes place in complete darkness. Any creases, dents, or tears in the paper are artifacts of handling the paper in complete darkness and are therefore part of the work.

Unlike the Multi-Sided Picture works which are unfolded prior to being developed, the RA4 Color Relief works are processed while still folded, causing the layers of emulsion to bind together permanently and produce a three-dimensional relief resulting from the configuration it was folded into when exposed to light (when wet, emulsion acts like a glue, and the binding together of the paper is permanent at the end of the drying process). The works are then mounted to custom-cut galvanized steel plates and held to the wall with sheet magnets. This mounting procedure alleviates the need for framing or glazing, placing the photographic object into the space of the viewer, instead of being insulated behind glass. Rather than a picture you look into, it is an object in space, that uses the conventions of pictorial images to change the perception of depth and shape. Thus, viewers experience the effect of light on the topography of the work and the shadows that the work casts (the same light and shadow effects that produced the work itself), aside from the photographically produced shadows on the work’s surface. In addition, viewers also witness the effects of their own body’s displacement of air on the work, as well as evidence of the flow of air in the room, since portions of the work dangle freely, swaying in the air current. The work does not stand apart from the place of its exhibition, or the people present there, but reacts in subtle ways to them. As with all the non-pictorial photographic works, they have no top or bottom, and no left or right. They may be arranged in whatever orientation or configuration is deemed appropriate for the context of the exhibition.

The image produced on the paper reflects one instance of light falling upon its surface, much the same way chiaroscuro is used in traditional trompe l’oeil painting to create depth, except in this instance, the depth of the shadows is created by the action of light itself and the paper’s inscription of the action of light. If exposed to direct or unfiltered sunlight over long periods of time while on exhibition (and depending on how much direct sunlight the work is exposed to) the work will begin to register the light effects of its environment, similar to the original exposure to light in the darkroom although over a much longer time duration. This is part of the nature of the work and an intended element of it. Should the owner of the work want to allow the work to evolve based on the context of its display, they may actively place it in a particular location with strong UV light present. Doing so does not invalidate the work, although attempting this will require a very lengthy exposure time (likely several decades). The work is designed to include the contributions of future stewards. In other words, the work registers the history of its exhibition on its surface. Should the owner wish to keep the work identical to its original appearance, standard controlled atmospheric conditions and dark storage practices for color photographs can be applied; dark storage is also an active choice that changes the trajectory of the work. Either use of the work is acceptable.

Material Conditions, Longevity, and Care:

The RA4 Color Relief works are made with Fujifilm Fujicolor Crystal Archive photographic paper. It is a polyethylene resin-coated paper with emulsion layers containing silver halide dispersed in gelatin and a clear gelatin super-coated surface to prevent physical damage during processing and display. Once exposed, the works are processed in a fifty-two-inch Kreonite KM IV 5225 RA4 color processor with Fujifilm Digital RA Pro P1-R Developer and Fujifilm CP RA P2-R Bleach Fix chemistry.

In the standard conditions for the display of an artwork (controlled humidity, temperature, and lighting), Fujicolor Crystal Archive photographic paper is expected to preform without noticeable change in color for over 130 years of consecutive exhibition in 150 lux light levels (the light level that is standard in museums). Because of the chemical composition of the emulsion, it is usually important for any photographic-based artwork to be “rested” occasionally to extend its longevity, by keeping the work in total darkness at ideal atmospheric conditions (at or under 77ºF/25ºC, and at or under 40% relative humidity). In dark storage, the image and color stability of this paper is nearly indefinite. In this instance, the colorfastness of the paper (how long it maintains identical color without shifting or fading) is irrelevant to the work. The work incorporates the changes that may take place in coming decades and centuries; this is part of the life of the work, and color shifting should not be considered damage. 

The RA4 Color Relief works should be treated as any other sculpture with a delicate surface. They should be handled with gloves during installation and other handling processes, and should be dusted with compressed air or professional-grade non-abrasive optic wipes (like Photosol Pec*Pad). Otherwise, nothing should touch their surfaces during exhibition, storage, or shipment.

The works are meant to be exhibited so that their surfaces can be viewed unobstructed and can react to the available light while on exhibition, without frames or glazing. If the exhibiting institution or owner of the work would like to cover the works for protection, a UV-resistant OP2/OP3 or UF5 acrylic box would be suggested. While it is not necessary to protect the works in this way, it is acceptable.

Titling Convention:

The date attributed to the work is the year of its first exhibition, which is separate from the production date included in the work’s title. A final description of the works, for example one that would appear on a wall didactic in an exhibition space, might read:

Three-Sided RA4 Process Color Relief (RGB), Los Angeles, California, January 6, 2022, Fujicolor Crystal Archive Type II, Em. No. 859809B217, 02622
2022
Color photographic paper and steel
18 ¼ x 20 inches 

Single-Sided RA4 Full-Spectrum Color Relief (D-Max), Los Angeles, California, February 7, 2022, Fujicolor Crystal Archive Type II, Em. No. 859809B217, 06022
2022
Color photographic paper and steel
20 ¼ x 26 ½ inches

Here annotated:
Three-Sided RA4 Process Color Relief [number of sides] (RGB) [abbreviations of colors used], Los Angeles, California [city of production], January 6, 2022 [date of production], Fujicolor Crystal Archive Type II [brand and type of photographic paper], Em. No. 859809B217 [emulsion number of photographic paper], 02622 [studio inventory number]
2022 [date of first exhibition]
Color photographic paper and steel [media]
18 ¼ x 20 inches [dimensions]

Single-Sided RA4 Full-Spectrum Color Relief [number of sides] (D-Max) [indicating “maximum density” exposure], Los Angeles, California [city of production], February 7, 2022 [date of production], Fujicolor Crystal Archive Type II [brand and type of photographic paper], Em. No. 859809B217 [emulsion number of photographic paper], 06022 [studio inventory number]
2022 [date of first exhibition]
Color photographic paper and steel [media]
20 ¼ x 26 ½ inches [dimensions]