Diane Kaye was born in Tacoma, Washington. She graduated with honors and received her Bachelor of Arts degree from the University of California, Berkeley.
She began shooting film and working in black and white darkrooms suddenly in 1980, which was like “coming home” to something she felt she was meant to do, instead of the previous pursuit of classical music-making. She supported her photography with a software career while studying with an array of master photographers available in those early years.
Always possessing a darkroom, it is there that she still creates photograms, solarizations, chemigrams, lith prints, and arranges lumen prints. At the current time she also utilizes a scanner-as-camera, and other digital technologies. She is known for having been present with her camera when the exciting and unexpected East German breach of the Berlin Wall took place in 1989. Her lumen portfolio earned the coveted Associate Distinction (ARPS) of the Royal Photographic Society. And she won the “Special Prize” of the All Japan Association of Photographic Societies. Her work has been awarded, shown, and published internationally.
Coming from a black and white darkroom background, I remain inspired by the look of the fine art silver print. In “Death and Transfiguration” I am simultaneously moving both camera and subject, in order to induce the birth of silvery new forms. Each piece in this large series features the same initial subject: one or more brugmansia aka “angels trumpets” from my garden.
Every final image documents exactly what dynamically took place in a single frame, (even though the human eye cannot see the image as it is forming.) This process can produce a dramatic transfiguration, no two images alike or repeatable, floating in the context of the darkness out of which they arise. The challenge of blindly creating something evocative and brand new in real-time – always starting with brugmansia – is what keeps me coming back to expand this series of wildly imaginary botanical portraits. As the title indicates, it is not about the flowers.