Some discoveries arrive uninvited. My cyanotypes were born beneath the sun of Tenerife — unplanned, irresistible. Where light has weight and clarity, I began placing plants and leaves onto light-sensitive paper, and let the sun do what it does: reveal, burn, preserve.
I prepare, I expose, I wait. And then the image appears — as if it had always been there, hidden in the blue.
I created these cyanotypes in Tenerife, where the days linger longer and the sun carries a different intensity than in Berlin. Here, the Atlantic light became more than a tool; it became a silent companion in the process.
In these pieces, I let the sun write. Leaves, petals and fragments of the island's living landscape rest upon paper and fabric. I welcome experimentation — layering materials, inviting unexpected reactions, allowing chance and chemistry to leave their own traces. Each work becomes a quiet conversation between intention and surrender, between what I place and what the light chooses to reveal.
What remains is that deep Prussian blue — a colour that seems to hold both ocean and sky within it.
For me, cyanotype is another form of writing: a calligraphy of sun and shadow, a bridge between my inner world and the landscape where I was born.
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