Figure Studies, a new boxed set of 8 pigment prints by artist Tyler Boley, is 18 years in the making. The photographs were made in 1995 using 10”x12” film in a 11”x14” camera.
Marsha Burns, an artist and mentor to Mr. Boley, describes the photographs in an accompanying essay, “These photographs are exceptionally intimate while not voyeuristic. They are calm; they neither intrude nor inform. They might have been done in one sitting, in the same late afternoon light, as if the mood could not be repeated. Here is a language in rich dusky tones that with each viewing of the prints, revives the mystery of being.”
Tyler is a native of Seattle, WA, and has been making photographs since the 1950’s. By the 1980’s, he was seriously active in fine art landscape photography taking workshops with Ruth Bernhard, Marsha Burns, Micheal Burns, Lucien Clergue, Linda Conner, Frank Gohlke, Mark Klett, Richard Misrach, Ann Noggle, John Sexton, Jerry Uelsmann, and Brett Weston. Most of his work focuses on an extensive series of the American Pacific Northwest landscape.
An early experimenter with pigment printing, he is widely acknowledged as a master printer. The prints in Figure Studies are a reflection of his skills not just as a photographer, but printmaker as well. The prints were made by Tyler in his studio in Seattle using seven shades of monochromatic pigment inks on Museo Portfolio Rag, a 100% cotton paper with no optical brighteners, in 2008.
Tyler describes the process of making the prints, “The Piezography K7 inksets used to make these photographs are available in a variety of subtle hues, enabling me to create a unique mix of shades and color. The exact mix was generated intuitively. The actual ink blends weren’t documented, simply altered at will, then left in place for the final prints. The final mix has very subtle shifts between a slight purple to reddish black throughout the tonal scale. After the prints dried for 24 hours I put the prints through another printer loaded with an overcoat, creating enriched values. The prints cannot be duplicated, the difficulty of the unusual process itself with specific equipment and software, the high rejection rate, the undocumented ink mix, all contribute not only to prints that present fully realized imagery, but also unique photographic objects.”
The set includes the 8 photographs, and a letterpress-printed essay by Marsha Burns, title sheet and signed and numbered colophon. The clamshell box is made of Asahi Japanese cloth over boards on the exterior and handmade Twinrocker mulberry paper on the interior. The prints were made by the artist in his studio. The box and letterpress printing were completed by Rory Sparks in Portland, Oregon. The collection is offered in an edition of 4.
Published in 2013
Handmade clamshell box covered in Asahi Japanese cloth
Accompanying essay by artist Marsha Burns
Letterpress printed text
Limited to 4