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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This image, Untitled (Rocket), 2013 is about the impulse to create and the materiality that defines our ideas, it is about nature and science, the original and the copy, man and machine – and ultimately about our place in the cosmos. While in graduate school I was inspired by the work of Robert Heinecken especially his “para-photographic” work that pushed the boundaries between high and popular culture. I also use pop-culture aesthetics but with a William Burroughs twist where recomposed fragments deliver their own (two-sided) mysterious allegory. Though this may not seem like traditional photography to some, it is in an extension of my documentary practice as I consider configurations small happenings that I happen to document.
Perez is a contributing writer for LensCulture and ARC Magazine. In 2014 he was featured in Ventana Latina Magazine (UK). Last year, 2015, Perez was selected as curator-in-residence at Baxter St./CCNY with the exhibit “The Three Traumas” as well as adjunct curator for the International Center of Photography’s new gallery space at Mana Contemporary with the exhibit “The Future is Forever.” This year his work will be in the group show “Race and Revolution” on Governor’s Island and with this single exclusive image featured right here!