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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The work is made using scans of parts my body that I made on a home scanner. (Those scans were part of an ongoing endeavor to document my entire body in sections, using the photographic process of the scanner as a kind of diary of the outlines and boundaries of my body.) Those images were then enlarged and printed onto transparencies to create very large format negatives. I then used the traditional method of cyanotype – a set of specific chemicals and the power of the UV rays of the sun, to expose those negatives in a variety of compositions onto large swaths of canvas in my own backyard (on a sunny day!) in Brooklyn, New York. A few auxiliary object that happen to be around made their way into this body of work: twigs and leaves, string from the laundry line I was using to hang the exposed cyanotypes, cut out stencils I had used for testing, etc. The finished images became objects that documented the history of their creation.