Hazel Davies — Crystalized Manipulations

Do you think this could have been created with a different type of material?

No, I was really in love with Impossible instant film because for me that really tries to revive and bring film back. When Polaroid ceased production, they’ve come out and said no, that’s not good enough, we need to keep making this cause there’s something really special about it. I’m so passionate about film and chemistry that I really resonated with that ethos of wanting to keep it alive and celebrating film as a media, celebrating chemistry and things that you can achieve with it.

Were you looking for an specific type of abstraction?

I didn’t really have an end result in mind, it was quite playful and quite experimental. There’s a lot that I didn’t use, I didn’t feel like they worked. The main thing was trying to get the colors I wanted, because like I said, sometimes you can leave it too long and you end up with too much white. The thing that I think made it very successful was when they work like a Rorschach test and people see things like macro shots or maybe like a satellite image of something. People always see different things in them, and that’s why it makes them engaging. I think they really work when your mind starts to pick images out of them.

Are you planning to experiment more?

Yeah, definitely! I’m planning to just keep making some more of this at the moment, I think it is working and with the new films out there. I’ve been working with Polaroids as well using Impossible film: I did a series of landscapes inspired by a mental health, mental state and dreams — that’s what I showed at my Kingston exhibition.

Originally published at magazine.the-impossible-project.com on November 13, 2015.