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.
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.
Saintes Maries is from my project Lou Mistrau, reflecting the sentiment felt and lived by my new immigrant status while revisiting places that are personal in south of France. They show the inability to participate fully in the activities taking place before one’s eyes, being at the same time both a spectator and a temporary resident.
Lou Mistrau is a strong, cold and usually dry regional wind in France, coming from the north or northwest, blowing across the Mediterranean coast from Languedoc to Provence, shaping the landscape, vegetation and character of its inhabitants.
Thomas’ work is exhibited widely and has appeared on the pages of Eponyme, Ain’t Bad Magazine, The Void Magazine, Pik Magazine #07, and Of the Afternoon Magazine #4 & #6.