Presented here is a very special edition of my 2018 work titled SUBTLE MOVEMENTS.
The 10.75" x 7.25" print itself is mounted, waxed and floated in its own handmade wood frame. The mats which they hover over are made from torn rice paper that has been dyed, waxed and mounted on a block of MDF board. This technique ensures that each work is one of a kind.
The detail of red along the side of the print mounted hardwood reflects of the gilded edge on the inside of the custom wood frame. This combined with the tones on the back mat creates a warm copper glow surrounding the pigment print.
The 13.75" x 10.25" outer frame is treated with homemade stains and wax using my personal patina technique.
The back is signed, numbered, wired and ready to hang.
Of the so far 10 year photo collaboration with my niece Carly, Subtle Movements has been the most involved as far as planning and preparations. We went a little astray from our more spontaneous approach. The amount of work and juggling of plans had never been so involved and hectic.
None of this noise came through in the shoot. After the months of location scouting, the models availability coordination(she is a teenager now, it can be tough), the ladder building, dismantling, transporting and rebuilding, the installation in 7 foot deep swamp water navigating within chest high boots in the 90 degree bug filled august sun, after all that, we managed to create an image that gives off an aura of calm.
Once the shoot began, the now seasoned model went right into character. Her ability to find her role within the worlds we create together is automatic, second nature .We were quickly able to reveal the character of the piece.
I became a quiet witness to a personal rite being performed. She became the personification of the entire process.
The secrets to the work are whispers. The labor of the whole summons a peace while reveling new mystery. This is the chase for me. This is a vital part of what keeps me consistently and feverishly creating art.
All the pigment prints I offer are created in house by myself. I approach the digital darkroom much as I have the traditional darkroom for over 25 years by treated each image with
incredible care and consideration before releasing any edition.
There is a great deal of thought put into sizes, tones and papers used for each particular image.
I have the same high demand for quality for my digital print work as I have had for all my work for nearly 3 decades.
I use only high quality, archival pigments and papers to ensure stunning tones and textures for long lasting works.
4 in stock