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.
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Either from memory of from prolonged looking I have been making very simple drawings of objects. These drawn objects are then cut out and used to create a photogram. Once a drawn shape has been cut out, I am left with both a positive (the shape) and a negative (the cutout space). In the history of photography one learns of the negative and positive and its part in the earliest invention of the medium. When making a photogram and chemically processing the print other marks can occur. Odd lights and darks or print stains seem to add a particular beauty to the print. Through the combination of traditional drawing and the medium of photography I have created the series Thinking About Drawing of which this image is one. I am absolutely interested in the contradiction of what is commonly considered a photograph.
Featured in: Museum of Modern Art, San Francisco I Museum of Fine Arts, Houston I Bibliotheque National, Paris I Mills College Art Museum, Oakland I De Saisset Museum, Santa Clara, CA I Numerous Private Collections