This work forms part of Ingeborg Tyssen’s Tree series, which the artist made from 1981–82. 1982 was the International Year of the Tree, and Tyssen’s commemorative series of strange, often solitary trees that look out of place or at odds with their environment, speaks to her environmental concerns, as well as the dislocation and isolation she herself felt in the face of Australian spaces. Tyssen came to Australia from the Netherlands at the age of 12 and was struck by the profound differences that existed between Australia’s natural places and the European forests she had left behind.
(2023)
Gelatin silver prints are black-and-white photographic prints that have been created using papers coated with an emulsion of gelatin and light-sensitive silver salts. After the papers are briefly exposed to light (usually through a negative), a chemical developer renders the latent image as reduced silver, which is then fixed and washed. This technique was first introduced in the 1870s and is still used today. Most twentieth-century black-and-white photographs are gelatin silver prints. They are known for being highly detailed and sharply defined prints with a distinguishable smooth, even image surface.
