A letter to Tarkovsky
|Paper Size||40 × 60 in|
While our recommended frame color and border or bleed choice is what we feel best complements the art and vision of the artist, by all means, choose a look that best complements your style and space.
Paper Size: Is based on Full Bleed and adding a border will change the aspect ratio, so paper size may adjust slightly smaller.
Glazing: To eliminate reflective glare, our biggest work (70″ to 80″ on the long side) is protected by an archival laminate in lieu of acrylic. Up to 60″ on the long side is protected by UV acrylic.
Border: If the framed image above is showing a white border, then clicking on Full Bleed will not show what full bleed looks like. We only show how a border will look. Your choice will appear on your order. The border on work up to 40″ x 60″ is about 2.5″ and about 3.5″ on our biggest work.
Frame Color: Clicking on Frame Color will not change the color of the frame, but your choice will appear on your order.
Frames: Our frames are custom made from robust solid wood Studio moulding, 2″ deep with a 3/4″ face width and joined at the corners with butterfly joints.
Orientation: Some work can be displayed either horizontal or vertical—should you wish to change orientation, please contact us and we’ll place the D-rings accordingly and confirm via email.
We print exclusively on Hahnemühle 100% Cotton Photo Rag Baryta paper and museum shadowbox frame in solid wood, Studio moulding handcrafted in a robust, contemporary profile preferred by galleries and museums worldwide.
Ask us should you need help or clarification. And please double check your (c)art to ensure your choices are correct.
Free Shipping to the US. Contact us for global shipping options.
This is the very first photograph taken for a body of work with the same title as this. It was done in the middle of the coldest night. I wanted to create a timelessness and a feeling of dreaming with open eyes.
After receiving her first camera at the age of nine, Anita Hamremoen (1966) has enthusiastically photographed ever since. Early in her carrier, as a graphic designer, she also worked as an assistant to a photographer learning the analog way. Photography has always been a part of her life.
Anita wanted to educate herself further and learnt more about the profession attending workshops both in Norway and abroad. She has studied with famous master photographers including Morten Krogvold, Joyce Tenneson, Deborah Turbeville and William Ropp, with avid dedication and determination. A powerhouse of energy and initiative confronts anyone meeting Anita for the first time. Viewing her work, one quickly discovers a depth in her images, meeting melancholy and vulnerability, which often brings tears to the eyes of the beholder. It is all about life, longing, loss, joy, dreams, memories, childhood and death.