Is the title I chose for my explorations in cyanotype, a technique I began to mingle with paint just as the first lockdown came to Uruguay. It's originally a 19th century photographic process, using exposure to the sun's UV rays. My first attempts at mixing the media with paint completely obliterated representation, in what my photographer friend Emily Laux said was a "Big Bang aethestic reflecting the uncertainty, chaos, and universal mystery" of the pandemic. Gradually plant forms began to appear, whether by the negative shape of actual vegetation or painted motifs. The catalogue, Sunpainting, describes how the technique and the times reoriented my journey.