“I believe everyone in your dreams represents a psychological aspect of yourself. So the whole Guest group is offered as an extended self-portrait - females and all.”—Chris Bucklow

The Danziger Gallery in New York has recently opened its second solo show of Christopher Bucklow’s arresting photograms. While certainly not a departure, artistically speaking, from his past photographic work, these photograms are nevertheless beautiful to behold. 

Light on paper. Each print is a unique display: the sun’s rays poring through thousands of pinhole apertures in an aluminum foil sheet mapping a human silhouette, each photogram reflecting the length of exposure and intensity of the sun at a given moment. The final result is singular and ethereal, a Cibachrome print that is its own negative. 

Beauty is a worthy pursuit whatever the medium. Bucklow’s love of light and color, along with the psychological underpinnings of this work, give these photograms their staying power. Already part of many major museums and collections, Bucklow’s sun-fueled photographs remind us that it’s ok to believe in our dreams. —Lane Nevares

Christopher Bucklow  - From the series “Guests”

(unique cibachrome photograph)

“[Bucklow’s] life-sized photograms are made in a four step process. First, the artist traces the shadow of his model onto a thin sheet of aluminum. The defined silhouette is then run through with small holes, one for each day that the subject has been alive. The metal is placed over a large sheet of photographic paper and exposed briefly to the sun.

These portraits capture something more than a shape, Bucklow references this in connecting the amount of light to the age of the sitter. The prints are limited to one each. The radiation sensitive material is exposed creating an image as unique as the person it captures.”

Scott Lickstein

Christopher Bucklow - Tetrarch, 2010 

Photographer Christopher Bucklow pushes the boundaries of his medium to explore nature, process, and the human form. As a part of the “cameraless” photographic movement in the U.K., Bucklow’s ongoing “Guest” series (1993-) uses pinhole camera techniques to create large-scale photograms of human figures. The complex process begins with projecting silhouettes onto aluminum foil and tracing them with thousands of small pinholes. He then places the foil over a sheet of photographic paper and exposes it to sunlight, the various qualities of light on a given day yielding different colors and shades in the projected image.