Arun I & II, 1987,
gelatin-silver print, chemically toned, 60x185cm
Arum II (detail)
Butterbur and Women 1995,gelatine-silver prints, photograms
Mortals, 1989-90, gelatin-silver print, chemical toned, in rosewood frame, 140x180cm
Mortals (detail)
Madonna, 1995,
gelatin-silver print, chemically coloured, 200x150cm, copper foil and tissue paper
Paris 1992 exhibition 'WG-Bastille-Tricoloure' Paris/Amsterdam
The (English) booklet Colored Black and White by BarBara hanlo is both an artist's book and an artist's manual. (read more)
Idea, photography and text: BarBara HanloThe desire, 1990,
gelatin-silver print, chemically toned, 80 x 80 cm
TORSO 1989,
gelatin-silver print, chemically toned, 5 parts 100 x 68cm each
Archetypes in blue, 1990,
gelatin-silver print, chemically colored, 5 parts of 100 x 68cm, in steel frames
Infinite composition with rose, 1992,
gelatin-silver print, perforated black painted aluminum plates, 120 x 160cm.
ABN AMRO Bank collection
Hogweed, 1989,photogram, gelatin-silverprint, 106 x 200cm
Eternity asks for the fruit of time, 1987,
gelatin-silver print, chemically colored.
Private collection
One of the women of Bluebeard, 1988,
gelatin-silver print, chemically colored.
Private collection
'I have always dealt with photography in a fairly experimental way. Photography is an excellent medium in which this is possible. After I got a working grant from the BKVB fund, I took a series of photos 'The Origin of the World', in which I tried out all kinds of possibilities. For example, I put pieces of paper in the enlarger. That gave erratic shapes on the paper. I also made photographs by lying down on the paper myself. Some photos I have not developed on purpose, so you get stains. Or I first painted with fixation on the paper. I was especially fascinated by the possibilities of photography to capture the light, photography is a medium that you can expand just like painting. At one point I also wanted to work with color, but different from the usual color photography. Color photography provides direct and bright colors. The chemical changes are much more earthy in terms of atmosphere and color. That's why I make my prints on baryta paper, which gives a great intensity and depth to the color. ' Interview KMMagazine
Dissolving the chemicals, experimenting with the solutions and unforeseen factors that play a role in toning have influenced my visual language. I assume that the mystery is to be found in everything and that I am marely the artist who recognizes this mystery in the things around me.