|Paper Size||40 × 40 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.
“Light is unlocked, received and revealed as the fundamental penetrating force of the universe…” Lyle Rexer
Light is an essential life-giving element, whether it’s the light that allows me to photograph, the light that emanates from a light bulb or the light that nourishes a flower. The seemingly contradictory natures of flowers and light bulbs come together for me in the images I call Dichotomy.
Looking past the reality of the image of a flower, I search for distinct gradations and hints of colors and textures that allow me to see beyond the boundaries of nature. Alluding to the possibility of what could be holding up the flower, I am playing with visual acuity and meaning. In this way, I offer the opportunity to rethink color, texture, shape and meaning. By discovering and revealing hidden nuances and unique combinations, I strive to provide moments that capture the unexpected.