You may know my love-affair with the cyanotype process, and the need for intense UV light to make exposures. But ladies and gentlemen, I can also print with light without needing a clear, summer day. The secret is in this box:
The box has a bank of super intense UV light bulbs that mimic the rays from the sun that activate the cyanotype process. The benefits of the box are that I can print no matter the weather or season, and the light is super consistent; my exposure times don't vary.
And although you can clearly see the sassafras leaf I'm printing with here, I tend to avoid printing with natural specimens in my UV box. For one, I'd rather not set things on fire accidentally, and cleaning up all the little particles of dried plant material from my botanical works is a lot harder in my digital/analog office than it is in my garage.
And thus my seasons of work come into play. In wintertime, the cyanotype printing and work I tend to do usually begins in the computer, with a digital or analog negative.
In a way, I enjoy that the type of work I create is seasonal in this way; I feel like it puts me in touch with the earth. But I do miss the "solar power" part of my artmaking that comes from working out of the garage. Often it's just too cold, or the light is too inefficient to work that way.
And so that's where creative adaptive rhythms serve me; rather than fighting against what's most effective, I can plan for it in advance and know that a different & engaging sort of work awaits me as the season changes. It means I never stop making and practicing my creative exploration, and one method can feed into another. A sort of artistic cross-pollination, if you will.