Moonlight Study #2, December Light
Additional information
| Paper Size | 40 × 60 in |
|---|
Out of stock
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* 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.
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Along the coast of the American Northwest the earth is composed of sedimentary, metamorphic churnings and volcanic floods from 17 million years ago. Great pillars of erosion resistant stone stand as monuments within the oceans gnawing waves. Remnants of volcanic islands whose drifting origin dates back a billion years create a scattered graveyard of geologic time. These oceanic movements coalesce with the force and pull of the full moon circulating this tidal body in the genesis pounding surf that sculpts the earth as it dissolves back into the sea. This project was the first work I began after suffering a severe concussion which left my eyesight damaged. In particular, I was sensitive to artificial and bright light having to wear sunglasses to protect my vision. Working by moonlight was both solace and a period of healing for me within this illuminant darkness of night.