The cabinet contains 120 individually made photographs, spread over ten drawers, and these are the cornerstone of the collection. There are 96 black and white and 24 colour images. The 96 black and white images comprise the complete archive of photographs taken by Gered Mankowitz in his two renowned studio sessions with Jimi Hendrix in London in 1967. The 24 colour photographs demonstrate Gered’s skill at re-working images in colour form.
Each drawer displays twelve photographs, in three rows of four. Each photograph in the collection is square, and measures 12.5 x 12.5 cm (just under five inches square), with subtlely rounded corners. The small size and the fact that they can be easily held in one hand is reminiscent of portrait miniatures—a small scale art form with a long and rich history starting in the 16th century.
Each one is made as a ChromaLuxe print. Chromaluxe printing is an archivally stable process that produces prints with outstanding detail and depth. The technique uses a process called dye sublimation to fuse the image directly into the surface of a 1.2 mm thick panel of white-coated aluminium.
The resulting prints have an ultra-high-gloss finish, richly saturated colours and details, and a jewel-like appearance. They are very resilient and require no additional glass, acrylic, lamination or coating to protect them. The dye sublimation process renders images waterproof, abrasion resistant, fire resistant and chemical resistant.
Because of the small size, each photograph becomes a precious object, which can be easily handled and viewed. The benefit of the ChromaLuxe process is that the photograph has its own structural rigidity and integrity, and, unlike a standard print on paper, a ChromaLuxe print can be picked up and handled without any risk of damaging the surface. The resulting prints have a spectacular clarity and purity—with a vibrancy and immediacy that you don’t get with a traditional print on paper. When you hold one of these small precious objects in your hands it is as if you have a direct relationship with the image.