The Man Who Never Came Back
Additional information
| Paper Size | 50 × 75 in |
|---|
$3,995.00
* DETAILS
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.
Kristoffer Axén currently works on developing his world into even more subjective directions with the use of collage-like processes and additional texture – both in the post-production stage and in the printing process. The aim is still to extract the underlying, subjective, reality into images carrying an untold story, balancing the borderline between reality and fiction, with allusions to painters like Mamma Andersson and Michael Borremans, and filmmakers like Béla Tarr and David Lynch.
Kristoffer Axén’s editioned photographs have been exhibited internationlly in solo shows in New York (Munch Gallery) and Copenhagen (Galerie Pi), in a recent two-person show in Stockholm (Gallery Domeij) and in numerous group shows around the world, notably at Liljevalchs Spring Show in Stockholm, at Aperture Gallery in New York and at Musée de l’Elysée in Lausanne, Switzerland. He is is part of many private and public collections such as the ICP collection, Michaelis School of Fine Arts and MONA and he has been published in articles and selections from magazines such as the British Journal of Photography, The New York Times and Vogue Italia.