In the book Gathering the Desert, Gary Nabhan attempts to "express the
character of plants, in the way that people sense the spirit of certain
animals." Through words, Nabhan and another author, Amadeo Rea, ignited
my imagination and interest in assigning anthropomorphic
characteristics to a plant. From 1999 through 2002, I photographed the
creosote bush, a plant integral to the health and stability of the
Sonoran Desert and its inhabitants. Other desert plants, including the
cholla, prickly pear, and even the saguaro cactus rely on it as a
"nurse plant," growing in its shade to avoid the scorching summer
sun. Underground, the roots of the creosote stabilize loose desert
soil, minimizing the effects of wind and water erosion.
I was
first intrigued by the form of this plant and then by its significance
in the Sonoran as I began to unravel the mystery it eagerly
revealed. Rea and Nabhan both conducted ethnobotanical studies on
plants of the Sonoran Desert, including the creosote bush. Each author
wrote of the importance of the creosote in the ecology and culture of
Native Americans. For example, the creosote is a central character in
the Pima and Papago creation story and has served as a medicine cabinet
for native people for centuries.
I am continually learning new
facts and legends about the history of the creosote and its
environment. Perhaps the most rewarding aspect of this project was
hearing stories of how people relate to the creosote bush today: as a
plant that clones itself, as the oldest organism in the desert, and as
"The One That Smells Like Rain."
-Aaron Bommarito
|
 |
| Creosote Series #2 |
|
|
 |
| Creosote Series #23 |
|
|
 |
| Creosote Series #48 |
|
|
"The One That Smells Like Rain" was printed using the photogravure
process. Photogravure is a method of reproducing a photographic image
in ink. It is a printmaking process that was introduced during the mid
19th century. The entire series consists of 27 images. Each plate and
subsequent image measures approximately 4x5 inches. The images are
printed on 12x16 inch Okawara paper and framed in custom made 15x19
inch wooden frames under anti-glare glass.
Steps in The Photogravure Process:
Step I: Create a film positive by exposing a negative onto a piece of film.
Step
II: The next step is to sandwich a sensitized piece of gelatin resist
(similar to photographic paper) and the film positive. The film
positive and sensitized resist are then exposed to ultraviolet light.
Step III: Now, the exposed resist is placed, image-side down, on a polished copper plate.
Step
IV: After allowing the resist to adhere to the copper plate for 20
minutes, the resist and plate are immersed in baths of alcohol and then
hot water. After soaking in hot water, the paper backing of the resist
separates from the resist and reveals the gelatin image. The negative
image is now attached to the copper plate. The dark areas or "shadow
detail" contain less gelatin than the highlight areas.
Step V:
Next, the plate is immersed in several baths of ferric chloride. The
acid etches the copper plate according to the thickness of the gelatin
in each area of the image. The shadow areas etch more quickly because
there is less gelatin protecting the copper plate and eventually deep
wells are etched that can hold a large amount of ink during
printing. The highlight areas contain shallower wells capable of
holding less ink, especially after wiping the plate in preparation for
printing.
Step VI: Once the plate is inked, it is squeezed with
enormous pressure through a printing press beneath a piece of dampened
paper. The paper fibers are squeezed into the wells. The fibers absorb
ink from the wells producing a positive image of ink on paper. |
|
|
