622 Warren Street
Hudson, NY. 12534

Tel.  518.828.1915 Fax. 518.828.3341

Hours:
Open Daily
11 am to 5 pm
Sunday
noon - 5 pm



Birgit Blyth

click on image for an enlargement, price, size and medium.

Chromoskedasic Grids 2014

Chromoskedasic 2007


No. 1, 2007

No. 10, 2007

No. 11, 2007

No. 12, 2007

No. 2, 2007

No. 3, 2007

No. 4, 2007

No. 5, 2007

No. 6, 2007

No. 7, 2007

No. 8, 2007

No. 9, 2007

Chromoskedasic 2010-2012

 

 Painting in the darkroom with activators, developer and stabilizers.


Untitled No.2 (2015), 2012

Untitled No.3 (3016), 2012

Untitled No.4 (4017), 2012

Untitled No.5, 2012

Untitled No.6 (6019), 2012

Untitled No.8 (8021), 2012

Untitled No.9 (9022), 2012

Untitled No.10, 2012

Untitled No.11, 2012

Untitled No. 12, 2012

Untitled No. 13, 2012

Untitled No.14, 2012

Untitled No.15, 2012

Untitled No.16, 2012

Untitled No.17, 2012

cyanotypes

chromoskedasic works 2009

 Painting in the darkroom with activators, developer and stabilizers.


Untitled 1114, 2009

Untitled 1115, 2009

Untitled No.17, 2009

Untitled No.1, 2009

Veil No. 27, 2009

Untitled No.3, 2009

Untitled No.4, 2009

Untitled No.2, 2009

Grid No.2, 2009

Grid No. 6, 2009

Untitled No.8, 2009

Grid No.5, 2009
Sold

chromoskedasic works 1991-2009

 Painting in the darkroom with activators, developer and stabilizers.


Veil No. 28, 2009

Veil No. 29, 2009

Veil No.18, 2001

Veil No.4, 2001

Veil No. 7, 2003

Veil No.5, 2003

Veil No. 30, 2009

Veil No.16, 2003

Veil No. 25, 2003

Veil No.12, 2003

Untitled 2A, 2007

Untitled 2B, 2007

Untitled 3A, 2007

Untitled 3B, 2007

Untitled 3C, 2007

contact prints

gallery shots

Artist Statement

Though Birgit Blyth began her photographic career using conventional photographic methods, she quickly became more interested in alternative processes. In the mid 1990’s a colleague showed her an article in Scientific American and it was here that she first discovered the technique called “chromoskedasic” painting, which would eventually lead her to fully finding her voice as a photographer.  

Blyth had always aligned herself with and been moved by abstract expressionist painting. The series of veil paintings by post-abstract expressionist, Morris Louis, was especially inspiring to her and caused her to ask herself how she could do similar interpretations photographically. In “chromoskedasic” painting, she found the answers and would begin on a new path in her artwork. 

The term “chromoskedasic” is derived from Greek roots meaning color by light scattering. Developed by a photographer named Dominic Man-Kit Lam, this process exploits the capability of silver particles in black and white photographic paper to “scatter” light at different wavelengths when exposed to light and chemicals. In her mastery of this photochemical drawing process, Blyth has painted lush washes of color into her own “Veil Series;” she has envisioned landscapes, both rural and urban, with melting swirls and marbled colors into rich palettes of toffee and lead. She has used this essentially experimental process to help her “see” the world around her. Blyth says she continues to be fascinated by the process because it requires “a combination of discipline, experimentation, and imagination, making possible a wonderful balance between control and surprise.” 

Because the chromoskedasic work is all analog, Blyth spends much of her studio time in the darkroom, which has become a rarity in the current world of digital photography. She does however, continue her preference for experimentation in numerous directions, even employing aspects of the digital age – this exhibit will also feature a new series of pieces created with the now defunct but much loved SX-70 polaroid camera, scanned and archivally printed on 24” x 24” fine cotton rag paper. 

Whatever the process, Blyth’s work is, as the painter and poet, Peter Sacks noted, a blend of “precision and mystery, of articulation and atmosphere.” Her images leave us with the feeling of ongoing action despite the apparent stillness; of qualities both dreamy and stark as light hits a stand of birch trees in a valley or a group of buildings in New York City. As Morris Louis evolved a style of painting that produced a complete integration of paint and canvas, so too has Blyth, with photo paper and chemicals, created a perfect integration of method and content.  



Artist Bio

Born:      Kousted, Denmark
Resident in U.S.A. since 1963

Education:    

Denmark and U.S.A.
Project, Inc., Cambridge MA (Photography)
DeCordova Museum School, Lincoln MA (Printmaking)
Maine Photography Workshop, Rockport ME (Photography)
Boston Museum School (Photography and Printmaking)

Member of:    

Cambridge Art Association
Photographic Resource Center, Boston MA
Concord Art Association, Distinguished Artist Member since 1988

Co-founder of CAMERADA (Critique group of 6 photographers), 1978-

Shows with CAMERADA:    
University Place, Cambridge, 1998
University Place, Cambridge, 1994
Cornelius Wood Gallery, Middlesex School, Concord, 1993
Concord Art Association, 1989
Juliani Gallery, MBCC, Wellesley, 1988
Newton Free Library, 1987
Cambridge Art Association, 1984
Concord Library, 1982
Project, Inc., Cambridge, 1980

Solo Shows
 
Carrie Haddad Photographs, Hudson, NY, 2010

Group Shows:    

Carroll & Sons, Boston, "Drawing Project," 2009
Carrie Haddad Gallery, Hudson, NY, 2008
Haddad Lascano Gallery, 2007
GASP (Gallery Artist Studio Projects), Brookline, MA, 2007
Welles Gallery, Lenox, MA, 2006
Concord Art Association, 2005
Higgins Art Gallery, Barnstable, MA, 2005
BF Gallery, Boston, 2005
Haddad Lascano Gallery, Gt. Barrington, MA, 2005
Cambridge Art Association (3 Person show), 2002
Concord Art Association, March, 2002
New England Photographers 2001, Danforth Museum, Framingham, 2001
Federal Reserve Bank, Boston, December 2000
Cambridge Art Association, National Invitational show, 2000
Fuller Museum, Brockton, 9th Triennial, 1999
Cambridge Art Association, members’ show (1st prize, prints), 1998
Cambridge Art Association, National Invitational show (1st prize, prints), 1998
Spazi Gallery, Housatonic MA, 1994
New England Photographers 1994, Danforth Museum, Framingham, 1994
Cambridge Art Association (Juror’s citation), 1994
Albany Center of the Arts, Albany, N.Y., 1990
Cambridge Multicultural Arts Center (4 person show), 1986
Cambridge Art Association (4 person show), 1984
Cambridge Art Association, 1983
Project, Inc., Cambridge, 1981
Cambridge Art Association, 1979
Pratt Institute, N.Y., 1979
Museum School, Boston, 1978
Project, Inc., Cambridge, 1976
Panopticon Gallery, New England Photographers, 1976
 
Residencies
 
Artist Proof Studio, Johannesburg, South Africa
1996 Pinhole and alternative photography
1997 Photography and Silkscreen
1998 Photography and waterless lithography
2000 Printmaking
2004 Pinhole and alternative photography
2005 Black and white photography
2006 Alternative photography
2007 Alternative photography
2008 Alternative photography

Northern Territory University, Darwin, Australia
2001 Pinhole and alternative photography; car battery etching
 
"Out of the Dump" Project, Guatemala City
2000 Alternative photography
     
Visiting Artist:
1996 School of Museum of Fine Arts, Boston; Paper making; alternative photography
2000 School of Museum of Fine Arts, Boston; Chromoskedasik alternative photography
2001 Interlaken School of Art (IS 183), Stockbridge, MA; Alternative photography
2003 Berkshire Community College, Pittsfield, MA; Alternative photo processing

Publications:
The Mothers’ Book, ed. Ronnie Friedland and Carol Kort. Boston, 1981
Speaking of Galbraith, by Peggy Lamson. Boston, 1991
New Dimensions in Photo Processes, by Laura Blacklow, 4th edition, 2006

About Gallery Current Exhibit Upcoming Events Recent Past Exhibits Contact
Painters A-M Painters N-Z Sculptors Mixed Media

Carrie Haddad Gallery   tel. 518.828.1915   fax. 518.828.3341