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.
I make lens-based artwork, in the studio and in the field, oriented around certain concepts that explore ideas in science fiction, alchemy, poetry, consciousness, and the historical, terrifying sublime. I am seeking the uncanny in the everyday. My images are made in-camera, on film, using a range of handmade masks, filters, and gels, brought together using multiple exposures and light distortions/diffractions.
This image was shot on film in the studio in 2013. All manipulations are done in camera. It is a meditation on themes of science fiction, thought, consciousness and the sublime.
Coverage of Mr. DeWaters’ work includes: Self Publish Be Happy, “SPBH w Dillon DeWaters,” October 10, 2014, Tierney Fellowship: Ten Years, Tierney Fellowship Catalogue, 2014, Indigo, Visible Spectrum Book Series, Conveyor Editions, Visible Spectrum Limited Edition Boxed Set, 2014, Conveyor Magazine, “Interview: (PARA)METANOIA Dillon DeWaters,” with Liz Sales, Spectre//Spectrum Issue, Issue No. 5, 2013, Photograph Magazine, “In the Studio: Dillon DeWaters,” by Adam Ryder, May/June 2013, LENSCRATCH, “Beyond the Barrier,” February 23, 2013, Feature Shoot, “’Beyond the Barrier’ Photo Exhibition Explores Facets of Science and Fiction,” Feburary 19, 2013, An Eruption of Anti-Time, 2011 limitied edition artist book by Garrett Miller, Shift Magazine, Volume 5, International Center of Photography Education Program, New York, NY 2010. His work is in various private collections.