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Brooke Hammerle is a U.S. based photographer residing in Providence, Rhode Island. Born in Annapolis, Maryland, Hammerle grew up in a nomadic childhood moving up and down the east coast of the United States. For Hammerle, the experience of living near the water with its constantly changing weather created powerful memories of the transience of light and time.
Hammerle studied painting, drawing, sculpture, and printmaking at American University in Washington, D.C. from 1964-66. She interrupted her college studies to travel to Europe for 9 months where she lived in Italy and traveled to Greece, Turkey, Germany, and England. Returning home, she moved to New York City in 1968 to study painting with Peter Gofinopolous at the Art Students League, a prominent artist training organization, from whom Hammerle learned much about personal direction. In 1969, Hammerle studied at the University of Hawaii and at Rhode Island School of Design (1970-72) in Providence, Rhode Island where, in 1978, she completed her Bachelor of Fine Artsat the University Without Walls.
While living in Providence in the 1970s, Hammerle began to make the transition to photography through printmaking. She began using photographs for silkscreen printing. Then, working as an E-6 processor, a chromogenic photographic process for developing Ektachrome, she learned the process of printing in black and white. In 1978, Hammerle completed a Bachelor of Fine Arts with a portfolio in black and white photographs.
From 1978-2010 Hammerle was the photographer to the Brown University Arts Departments, Visual Arts, History of Art, and the Bell Gallery in Providence, Rhode Island. During this time, Hammerle began shooting landscapes in color, on 35MM and 2¼ color transparency film and printing them as Cibacromes. In 1990, after some experimentation with zerox transfers, she discovered inkjet printing on fine art paper from scanned transparencies. This made possible the realization of her aesthetic vision in a new medium, on paper, instead the glossy film of the Cibacrome process. This new medium allowed Hammerle’s photography to interpret light and color a more formal and plastic way.
In 2010, after retiring from Brown University, Hammerle began to shoot with a digital camera and began experimenting with interpretations of light in different presentations exhibiting her work as light box transparencies, laminated on or dye sub printed on aluminum, or mounted behind Plexiglas, as well as printing on paper.
Hammerle studied painting, drawing, sculpture, and printmaking at American University in Washington, D.C. from 1964-66. She interrupted her college studies to travel to Europe for 9 months where she lived in Italy and traveled to Greece, Turkey, Germany, and England. Returning home, she moved to New York City in 1968 to study painting with Peter Gofinopolous at the Art Students League, a prominent artist training organization, from whom Hammerle learned much about personal direction. In 1969, Hammerle studied at the University of Hawaii and at Rhode Island School of Design (1970-72) in Providence, Rhode Island where, in 1978, she completed her Bachelor of Fine Artsat the University Without Walls.
While living in Providence in the 1970s, Hammerle began to make the transition to photography through printmaking. She began using photographs for silkscreen printing. Then, working as an E-6 processor, a chromogenic photographic process for developing Ektachrome, she learned the process of printing in black and white. In 1978, Hammerle completed a Bachelor of Fine Arts with a portfolio in black and white photographs.
From 1978-2010 Hammerle was the photographer to the Brown University Arts Departments, Visual Arts, History of Art, and the Bell Gallery in Providence, Rhode Island. During this time, Hammerle began shooting landscapes in color, on 35MM and 2¼ color transparency film and printing them as Cibacromes. In 1990, after some experimentation with zerox transfers, she discovered inkjet printing on fine art paper from scanned transparencies. This made possible the realization of her aesthetic vision in a new medium, on paper, instead the glossy film of the Cibacrome process. This new medium allowed Hammerle’s photography to interpret light and color a more formal and plastic way.
In 2010, after retiring from Brown University, Hammerle began to shoot with a digital camera and began experimenting with interpretations of light in different presentations exhibiting her work as light box transparencies, laminated on or dye sub printed on aluminum, or mounted behind Plexiglas, as well as printing on paper.