Jessica Eaton uses light the way Color Field painter Josef Albers mixed his colors. Eaton’s images achieve their mesmerizing tonal depth not from Photoshop, but by merging technical expertise and chance, averaging one work per 200 sheets of film. Relying on the tripartite additive color process she discovered in an old Kodak manual, Eaton physically makes cubes, varying from 5 to 25 inches, paints them in various shades of grey, and then photographs them again and again on the same negative. Each time, she places a red, green, or blue color separation filter over her lens and, with each exposure, the three colors blend to become her luminous, ...
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