Glitches, shapes + holes intersecting bodies and woodland
Using intaglio, lithography, cyanotype, and more.
2018 - 2022

INTERFERENCE

Ella Chedburn's practice squeezes nature through a digital lens: scanning trees, coding virtual-reality forests, wiring plants to computers, and projecting into woodland.

She intentionally misuses technology, encouraging glitches to run throughout her digital work and mimicking them in her prints as floating shapes or holes. These weightless shapes intrude on her trees and figures like unseen forces or spirits, harmonising the physical natural realm with the floating digital and spiritual realms.

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STONE 
LITHOGRAPHY

Edited branch lithorgaphy signed small.j

Tweeting

November 2018

32.5 x 24cm

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Hole, October 2018

27.8 x 47cm

Blooming, October 2018

27.8 x 47cm

STONE LITHOGRAPHY
PROCESS

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Fanning stone dry

after grinding it

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Drawing with range of grease materials after painting a gum boarder and light conte outline

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Etching with different strengths of  nitric acid

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Wiping in a layer of asphaltum then rolling up the image with ink 

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Sponging stone, rolling ink, and printing image using press

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Pulling a print

ZINC PLATE
LITHOGRAPHY

 
 
 
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Dawn, December 2018, 17.6 x 28cm

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ZINC PLATE
LITHOGRAPHY

PROCESS

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INTAGLIO

Intaglio forest

Forest Glitch, March 2019. 19 x 28cm

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This print references the imagery in Forest Virus, a virtual woodland created for a virtual reality headset. It generated glitches which sliced through the trees.

Intaglio forest

INTAGLIO PROCESS

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Tools/methods used: needle and screw scratched into a copper plate covered with hard ground. Then tarlatan and string imprinted into soft ground.  Next, aquatint with sharpie pen and white ground. Etched in ferric chloride. Final deletions using burnisher and sandpaper.

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CYANOTYPE

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Tree Waves 2
Tree Waves 2

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Tree Waves
Tree Waves

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Tree Shapes
Tree Shapes

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Tree Waves 2
Tree Waves 2

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These prints are made by exposing cyanotype-coated paper to UV light.

The solution turns blue when exposed to light, revealing a blue negative of the template.

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Tree Wave 1 & 2 + Tree Shapes, 2021, 28 x 38 cm

Cyanotype from garlic net over a photo negative

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Portal Tree, 2022, 28 x 38 cm

Moss and mesh over drawing on acetate

^ Cyanotype-coated paper and template are vacuumed together then spun into the UV light chamber. After, the print is washed and dried to reveal the final image.

 

SCREEN PRINT

 
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These prints are based on this painting, Geometric Forest (2017), which is on display at the Walkie Talkie building in London from July 2021 until July 2022  as part of the Liberty Specialty Markets  Art Award.

Geometric Forest, December 2017

1of 40 variations with different shape formations 

(Silkscreen print onto 220gsm cartridge paper. 30 x 42 cm)

 
 

OFFSET MONOPRINT

Offset monopritning creates a single print. Ink is carried from a plastic sheet onto a roller then onto paper. This print took about 6 hours of continually adding layers.

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These prints were inspired by research about trees generating electricity

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use the arrows to click through a short illustration of how trees could generate electricity...

Page 1 - Trees generate electricity
Page 1 - Trees generate electricity

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Page 2 - when a leaf is moved by wind it gathers electric charges
Page 2 - when a leaf is moved by wind it gathers electric charges

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Page 6 - so electric trees could soon be turned into electricity generators
Page 6 - so electric trees could soon be turned into electricity generators

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Page 1 - Trees generate electricity
Page 1 - Trees generate electricity

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virtual reality forest glitch.JPG