About the Artist

“And now here is my secret, a very simple secret; it is only with the heart that one can see rightly, what is essential is invisible to the eye.”  - Antoine de Saint-Exupery

Barbara Maloney is a photographer and printmaker who was born in Washington, DC, and who now lives in Howard County, Maryland.  Working primarily with alternative photographic processes, she has been an exhibiting artist for over thirty-five years.  She got her first “real” camera (an Olympus OM-1) shortly after the birth of her first child.  She loved what she could do with it and how it made her world so much larger.  The more that we see, the more we are capable of seeing; and somehow, that first camera opened her eyes to beauty that she had never known before.  Within a month of taking her first photograph, she knew that she wanted to spend the rest of  her life making images.

She graduated from Mary Washington College of the University of Virginia and studied photography and printmaking at Montgomery College (Maryland) and Kingsway College in London.  Additionally, she has taken workshops with Elisabeth Opalenik, Alida Fish, Holly Roberts, Jonathan Talbot, Susan Bloom, and Clay Harmon in the United States, and did further work with Terry King, Maija McDougal, Mike Ware and Peter Fredrick in England.

Barbara Maloney’s alternative photographic work has been seen in numerous juried and invitational shows, including exhibits in the United States at Howard Community College, Montgomery College, the Popcorn Gallery at Glen Echo Park, Photoworks, and the Howard County Center for the Arts.  In England, she has had solo exhibitions at Burgh House, the River and Rowing Museum in Henley, and the Riverside Gallery in Richmond on Thames.  She has been included in several group exhibits in London, including the Old Bull Gallery, the Mafuji Gallery, Lauderdale House and St. Johns Church, Smith Square.  Her work is included in many private collections, both in the United States and abroad.

Artist Statement

My work is all photographically based, but none of my images could be termed “straight” photography.  Much of my work is often an exploration of quiet times or places, and I try to share with the viewer my own sense of discovery in the essence of an experience.  There is the shooting, of course, with that heightened visual and emotional sense.  The film or digital file is the starting place for what they eye sees and what the heart feels.

It is the printmaking process which follows that completes my vision and makes my work unique.  When working with hand-applied emulsions (like temperaprint) or photo-mechanical processes (like photo intaglio), one can amplify what one saw and felt initially or change it into something else entirely. There is creative freedom at every stage of printmaking.  From the production of the enlarged negative, to selection of color, hand coating of emulsions, exposure, and development, there is space for expression and manipulation.  Results can be unpredictable, pleasant, soulful, even; but like life itself, not totally controllable.  I have learned to respect my materials and to be present in a zen-like way as images evolve in the studio.  Each print is different from every other.

Working with alternative processes takes the joy of photography into an almost magical realm of creativity.  It is the place where light, paint, ink, the human heart, and the human hand all merge together.