"Untitled" by Carolina Baldomá
Untitled
Series: That afternoon was as blue as an opaline glass
Carolina Baldomá
Media: Chlorophyll print on oat leaves
Size: 22.5" x 15"
Price: $1000
PROCESS
This work is an archival pigment print of a chlorophyll print made directly on the leaves of an oat field. The image depicts a girl within the field, and the chlorophyll print was created on the very leaves of that landscape, forming an organic dialogue between image, material, and territory.
STATEMENT
Carolina Baldomá lives and works immersively within the natural environment of the Argentine Pampas. Her artistic practice explores the relationship between human beings and nature through the concepts of coexistence and synchronicity.
She develops an experimental investigation in the landscape using nineteenth-century photographic techniques based on solar printing—such as cyanotype, anthotype, and chlorophyll prints. In these processes, nature becomes both the object and the subject of the work, generating an organic interaction between image, territory, and materiality.
Her work delves into natural and feminine vital cycles, approaching their stages of metamorphosis as transformative forces from a symbolic and poetic perspective. The transitions experienced by young women and their natural surroundings find resonance in the metamorphosis of the very materials she works with. Her pieces capture ephemeral processes that reveal both the fragility and the strength of these transformations, establishing a symbolic dialogue between female experience and the natural world.
BIO
Carolina Baldomá is a photographic artist who lives and works immersively within the natural environment of the Argentine Pampas. She explores the relationship between nature and humans through the concepts of coexistence and synchronicity.
Her practice centers on alchemical experimentation with historical photographic processes, revisiting the history of photography through an empirical and interdisciplinary approach. She develops experimental investigations in the landscape using nineteenth-century techniques based on solar printing—such as cyanotype, anthotype, and chlorophyll printing. In these processes, nature becomes both object and subject, generating an organic interaction between image, territory, and materiality.
In 2025, her work was pre-selected for BIENALSUR, the International Contemporary Art Biennial of the South, and for the 112th edition of Argentina’s National Salon of Visual Arts at the Palais de Glace. Her work was also shown at Photo London 2025. In 2023, she was shortlisted for the FRESH contest by Klompching Gallery (New York) and became a finalist for the Lens School Scholarship in Madrid. She has received recognition in several international competitions, including the LensCulture Emerging Talent Awards (2023, 2024), Critics’ Choice (2022, 2024), and the LensCulture Portrait Awards (2023).
She has presented solo exhibitions in Argentina and Uruguay and has participated in group shows in New York, Paris, Athens, Berlin, Melbourne, and Vermont. In 2025, she took part in Expanded Cyanotypes: New Directions in Cyanotype Making at the Griffin Museum of Photography (New England, US). Her series I was once between the sun and the moon was also selected for the Griffin Museum’s summer public art exhibition Vision(ary) 2025, dedicated to visual storytelling.
Her projects have been featured in photobooks and published in various specialized photography and literary magazines.
She completed a Master’s degree in Curatorial Studies of Contemporary Art in Buenos Aires. She is currently working on a thesis about nineteenth-century English women photographers who were passionate about nature and botany, and played a key role in significant advancements in photography, art, and science. This interdisciplinary dialogue that emerged two centuries ago is revisited in her practice to propose a contemporary perspective on the relationship between human beings and the natural environment.
