sound representation of the tree
structure. Each of the final images
is made up of around 50 individual
close-up plates of the tree, which
are then stitched together in post-production. Brandt uses his Epson
to print a digital negative, then
sandwiches the negative in glass
and makes a contact print before
developing it in huge trays—
trays which he makes himself.
He then washes the print and
mounts it on aluminum sheeting.
From there, the multilayered
“silvering” process begins; the
piece is sprayed with a heavy
industrial clear coat that renders
its surface “glossy,” over which
a tinning solution is applied
to give the silver something to
stick to, then layers of silver are
applied, before he seals it with a
Working on a project
involving large prints mounted on
aluminum and covered in precious
metals can be quite expensive.
Brandt credits his long-standing
relationship with M+B Gallery
with helping to defray the costs,
as well as providing him with a
space to create without fear.
As he laughingly points out, their
first collaboration was an exhibit
of prints that electro-shocked
anyone who touched them
[“Two Ships Passing,” 2011].
Since then, he’s continued to
push the physical boundaries
ABOVE: Brandt was inspired to create “Silver” by the experience of being lost in a forest and his interest in “photography
and the idea of reflection.” Clockwise from top left: “AgXID4A,” “AgXID5A,” “AgXID12A” and “AgXID6A.”
ABOVE: Detail image of one of
Brandt’s prints, which are mounted
on aluminum sheeting.