Susan Berkowitz
			artist statement

Dry Polaroid Transfers, Polaroid Emulsion Lift Offs, Gel Transfers and Abstracts

I have worked in all realms of photography throughout my career. For the past 8 years, though, I have focused on single image Gel Transfers, Dry Polaroid Transfers and Multiple Image Polaroid Emulsion Lift Off Transfers. As I work in all three processes, the concept remains the same; all are equally enjoyable as well as aesthetically pleasing. 

I hand-build my assemblages. The objects within each assemblage represent who I, or someone else was at a certain time and place. Objects such as keys appear regularly, and to me, they represent a life from the past, as well the future. Keys open and close doors, chapters of our lives.

Objects such as flowers, begin small and beautiful, bloom into their own, and one day whither away, leaving behind a dried petal for their remembrance of who they once were.

I feel that there needs to be more beauty in the world. There is so much sadness and heartache around us these days, I simply want to show that the smallest of objects can bring about great beauty, that maybe, due to our own situations, we may have missed along the way. For example: this beauty can be found under the smallest circumstances, such as in my piece entitled “Pod”. I was walking in a rainstorm in Scottsdale, Arizona, when a pod with seedlings blew across my path.

My assemblages and the objects within them represent the history and metamorphosis that I, myself, or others, based upon conversation, have experienced. As stated above, each assemblage is constructed by hand and photographed with 35mm slide film. The slide film is then used to create either the Dry Polaroid Transfers, Polaroid Emulsion Lift Off’s or the Gel Transfers.

All four processes begin with using 35-millimeter slide film, which is then placed in a Polaroid slide printer, allowing me to print onto 3”x4” Polaroid 669 film.  From this Polaroid film, I am able to create both Polaroid Dry transfers and Polaroid Emulsion Lift off Transfers.

The Polaroid Dry Transfer process consists of allowing the Polaroid film to process for approximately 10 seconds, otherwise known as a partial process. I then pull apart the film and transfer the negative to artist paper, where, in about 2 minutes, the image finishes it’s processing time onto the paper. The size of the image is only 3” x 4”, and I don’t feel the impact of the image was properly presented. In order to have the larger image, the original 3” x 4” Dry Polaroid is scanned into the computer and a single 36” x 24” archival print is printed onto Somerset Velvet paper.

In the Polaroid Emulsion Lift Off process, I allow the Polaroid 669 film to process its full 2 minutes. The emulsion is then boiled off the paper back of the Polaroid film. What is left is a membrane, as thin as tissue paper. Once the emulsion is boiled off, it is moved into a cold water pan. I then transfer the emulsion directly onto Archival Stone Hendge Artist Paper and use a brush with cold water to manipulate and move the image until I am satisfied with where it is placed. Each final creation has between 3 and 5 images within it, with the final size being approximately 10” (H) x 20” (W).

For the Gel Transfers, I create a color copy from the slide, and by using Gel Medium, the image is transferred to artist paper.  The Gel Transfer process also allows me to create layers through the scratches that occur naturally as I transfer the ink to the paper. Each final image is placed upon Stone Hendge Artist paper and are approximately 16” (W) x 20” (H).

All processes are one of kind creations. The scratches, folds, creases, rips, tears and so on occur as I create each piece. This natural process does not allow for an identical recreation. The edges of the paper on all three processes are deckled (torn), and the edges are displayed by floating the entire work in a window matte.

The “Abstract Series” begins with simply photographing painted concrete walls. With that, I create a multiple image Polaroid Emulsion Lift off Transfer.  The multiple emulsion lift off’s are one of a kind. Meaning, they cannot and will not be reproduced. With that, I choose to scan into the computer one particular shape of an original emulsion lift off. I use the computer to change the color and increase the size. Thus, the final image is a 20” x 20” IRIS print. Framed to 30” x 30”. The   images are generally displayed in a quad fashion or traditional fashion. Reason being, each color of each image compliments one another. I feel that the colors and shapes I choose all lend themselves to enhance each other.  The images can be sold as a group(s) or individually.

When Polaroid announced  a few years ago they were going to cease making 669 film, through generous donations, I was able to purchase several thousand sheets of 669 film so that I would be able to continue working in my medium. When I run out of film, if Polaroid has chosen not to manufacture 669 film again, both The Impossible Project and Fuji have developed an instant  film that I will be able to work with.