Traverse no. 1: Matthew McCully
Welcome to our new column that discovers, investigates, and highlights fine art photographic work from an international forum of creatives. Aptly named “Traverse” and written by our newest contributing editor, Michael Kirchoff.
Within this column, I strive to look at photographs and processes that reside outside of the familiar American bubble that we see more often than not. The aim is in examining not simply our similarities and differences, but also the common thread of making photographs in our shared process and goals.
—Michael Kirchoff, Contributing Editor
Matthew McCully
Occasionally while exploring the endless grid of Instagram, one comes across something that catches your eye. It’s usually something that, once examined more closely, is something you’ve seen before. Not that that is bad, mind you - I mean, no crime, no foul - but it’s really something when you discover a true gem of a photograph. That’s what happened to me one day when I came across the work of Matthew McCully. His abstract photographic art is created with the Chemigram process but is something that stands out from the crowd. These were not your usual spilled accident looking photographs with no direction or substance behind the image. They were different, unique as could be, and were taking the abstract and manipulating it into more familiar forms - some rigid, some organic. I continued to watch Matthew’s technique expand and become controlled in its execution, and I reached out to learn more about him and his intention behind the images I had grown so fond of. True to form for this new column, Matthew hails from the U.K., in the city of Frimley, just outside of London - however, it is his artistic sensibilities that extend far beyond these borders.
Matthew’s early days were with an interest in science, but by his late teens, his gaze traveled over to an interest in the arts. Initially, his motivation was in the area of animation, but as the trade steadily became more and more involved, he realized that his patience waned and photography began to take hold of his life. After finishing his formal education, and after a few years in the industry, he soon realized that a role as a photography educator was more to his liking. Matthew now splits his time between teaching and creating art.
While not against the digital world of photography, it is the hands-on approach of alternative processes that keeps him interested and continually experimenting with the Chemigram process. With a love of science, and inspired by the work of Pierre Cordiers, Matthew continues to do his in-depth exploration of the process and has even incorporated his early enthusiasm of animation in the form of Chemigram gifs. Rather than give you a detailed explanation of the process here, we will refer you to alternativephotography.com/the-chemigram.
An excerpt from Matthew’s artist statement reads:
““Working with teenagers I have seen depression, anxiety and a wide range of other mental health issues become more prevalent each year. Initially, the production of Chemigrams was as an escape from the stresses of work-life, a way to experiment, learn, and relax. However, increasingly I became influenced and inspired by the interactions I have had with students, gaining a better idea of the difficulties they go through. I have taken ideas from these conversations based on descriptions of emotions and relationships which I translate into abstract forms.””
It is the combination of this thought process coupled with the inherent chemical process that gives these images more meaning and intention not often found in similar work. With a future of planning a large-scale Cyanotype series, as well as making 20”x20” Chemigram prints for an upcoming exhibition, I cannot wait to see the next offering from an individual who has clearly mastered his art form.
About the artist
Working with alternative photographic processes and getting to the root of what photography is has driven me since I first began practicing the art form in the late 90's. Having spent a long time as a freelance studio retoucher and teaching digital photography, I have found getting back to the physical and sometimes messy processes has been a valuable and ultimately life improving outlet. Aged 18 I started my formal education in Photography, as a way to get onto a degree course to study Animation. However, I enjoyed Photography and its chemical process enough to change my plans. From there I completed a Foundation Art and Design Course at Surrey Institute of Higher Education, and then onto BA (hons) Photography (Professional Media) at the University of Gloucestershire. After a few years in industry the opportunity came up to work in a 6ht form college whilst gaining my teaching qualification so I decided to change my path slightly.
My work life is now split into three, teaching photography, looking after the pastoral care and well-being of 200 students and fitting in creating my own imagery. I have been heavily influenced by Pierre Cordier’s work and excellent book le Chimmigramme, it has been reassuring to hear how many techniques and materials he tested become as successful as he is. This is certainly something I have found whilst exploring the process, and I have had to embrace and learn from my failures which has become a health habit in my life.
About the author
Michael Kirchoff works in the worlds of both commercial and fine art photography. A commercial shooter for nearly thirty years, it is his fine art work that has set him apart from others, with instant film and toy camera images fueling several bodies of work. His consulting, training, and overall support of his fellow photographic artist continues with assistance in constructing one’s vision, reviewing portfolios, and finding exhibition opportunities, which fill the gaps in time away from active shooting.
Michael is also an independent curator and juror, and advocate for the photographic arts. Currently, he is also Editor-in-Chief at Analog Forever Magazine, and is the Founding Editor for the online photographer interview website, Catalyst: Interviews. Previously, Michael spent over four years as Editor at BLUR magazine.