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 series Darkside of Light” questions and pushes the boundaries of photography. There is no focal point, identifiable subject or depth of field… The artist works on a raw and impalpable material: the diffraction of light in water. The photographic shot was realized using an underwater installation (Martinique FWI – 2013), to concentrate the light onto a plate of metal. The image is then numerically manipulated many times, in order to “immerge” into the heart of light and the numerical matrix of the image. The result is a residue, which the artist calls “digital-intra-light”.
The second element of the diptych, called “digital-intra-darkness” is an image resulting from a radical addition of black. This residue of the photographed image becomes an autonomous and raw entity, which emerges from the black and numerical magma: a sort of “anti-negative”.
These pictures are infinitely going back and forth between light and obscurity, between water and material. It is not about the process of the search for “beauty”, aestheticism or even the enhancement of the image, but rather a form of revelation through “destruction”. It is a revelation of the autonomy of light and water through the digital interpretation of the photographic device. Text by Valérie Reinhold, Art advisor and curator based on the Netherlands