Matthias Olmeta’s “Letter to my grandchildren 5” series is a collection of portraits, made with ambrotype, wet collodion on acrylic glass, varnish, pain, and gold leaf. Ambrotype, also known as amphitype or collodion positive, is a positive photograph on glass made by a wet plate. This process was much cheaper than daguerreotypes and allowed for shorter exposure times, which made it highly convenient in the 1850s. During that period of time, ambrotypes were generally used for work purposes, such as official family pictures. Olmeta, on the other hand, elevates the ambrotype process by taking advantage of its light properties.
Ambrotype appears as a thin negative on glass when viewed by transmitted light, and as a positive when backed with black. Olmeta engraved rows of text behind the portraits. This creates a multi-dimensional aspect to the works, as the words can only be seen from certain angles, depending on where light hits the surface. In order for a viewer to see the work in its entirety, they have to walk around and look for the right perspective. In addition, the text is reflected backwards, requiring a mirror to decipher. This allows for a sensory, non-passive experience for the audience.
Based on the title of the series, the writing probably represents the letters to “the grandchildren”. The subjects of the portraits are all youths looking directly at the camera/audience, their backs shrouded in darkness. Their expressions are blank, almost confrontational – amplified by the stark, dramatic lighting. The black-and-white simplicity of the models contrasts yet complements with the detailed, meticulous gold leaf writing. The ambrotype-intaglio combination is only visible in certain perspectives, which sort of reflects the ephemeral stages of human life. Olmeta is definitely unique for utilizing the ambrotype process for contemporary art, and reinterpreting its usage.
