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A figure stands at the end of a diving board. The backyard is unmistakably Californian — single-story roofline, turquoise pool, potted plants arranged in quiet optimism. Yet the sky is overcast. The patio is wet. The promise of sun, withheld.
The body is upright but not triumphant. The diving board becomes both stage and threshold — a narrow platform of performance.
Suburban malaise at it's best.
Museum-Quality, Limited Edition Archival Pigment Prints on Cotton Rag Photo Paper
$250.00 USD
Sizing
Dimensions reflect the photograph’s native proportions/aspect-ratio and may be rounded to the nearest inch for clarity.
Measurements refer to the printed image area. All prints include a 2" border for handling, which may be trimmed for matting or framing, or left on, emulating a matted presentation.
Editioning
All images have a total edition count of 20, subdivided by size. Sizes within each tier vary by image aspect ratio, but edition counts & pricing per tier are the same across all images.
- Small - Ed. 10
- Medium - Ed. 5
- Large - Ed. 3
- XL - Ed. 2
Prints are signed on verso. Mounted and framed works include a signed edition card dry-mounted to the reverse of the mounting substrate.
If you’d like your print titled and signed on the front lower margin, please leave a note in the “Order Special Instructions” section after adding the piece to your cart.
All works ship with a certificate of authenticity.
Framing
Purchasing framed work from me simplifies the collecting process by providing a ready-to-hang piece without requiring additional custom framing on your end.
While some collectors prefer a matted presentation, my preference is for a more contemporary borderless look.
Framed works purchased here are presented borderless, with the image extending directly to the frame moulding. If you’d like to purchase a framed piece from me, and you prefer visible borders (emulating a matted presentation), please contact me for a custom invoice. This will increase the overall framed size and framing cost due to available material sizing.
Framed works are currently presented in Larson-Juhl’s Shoji Ebonized Walnut moulding — a moderately priced satin black wood-grain profile selected for its understated contemporary character. Alternative and premium moulding options are available upon request.
See my Framing Recommendations PDF for more moulding recommendations and general info on the framing & preservation of prints.
Glazing
Framed works are offered unglazed as a lighter, more economical presentation option that allows the surface of the paper to remain fully exposed. For maximum protection against UV exposure, dust, humidity, and surface abrasion, glazing is recommended.
I currently only offer museum acrylic online, as it is virtually shatter-proof, and safe for shipping. Museum acrylic blocks +99% of damaging UV rays, while also providing a layer of abrasion / spill resistance to the paper.
If you’d prefer your work framed behind glass, please contact me for a custom quote, or purchase "print-only" and work with a local framer. I can attempt to provide guidance on who to use, if you're new to framing artwork.
See my Framing Recommendations PDF for more on glazing, and general info on the framing & preservation of prints.
Shipping
Fulfillment times vary depending on your location and my hectic artist's schedule, but I work to fulfill as quickly as is reasonably possible.
Typical fulfillment timelines are 2-4 weeks, depending on purchase options.
If you have a specific deadline in mind, like a birthday, etc., please leave a note in the “Order Special Instructions” section after adding the piece to your cart.
Once your order has shipped, you will receive an email with tracking information.
Archival?
Archival-ness is essentially museum/conservation lingo that is used to describe materials that resist color shifts and degradation over time. The primary causes of color shifts are UV damage, physical damage, and acid-exchange with any adhesives or paper products involved in the production of the work.
Archival pigment printing on cotton rag paper (my printing process & substrate) is a robust and conservation-minded combination. I use archival products from tip to tail of the print making process. However, the longevity of your piece depends entirely on how you choose to display / store your print, and the level of care you take to preserve it.
If you're concerned with archival quality, please see the section below about Dry-Mounting.
Dry-Mounting?
Dry Mounting is a “permanent”, “archival” mounting process in which the print is adhered to a rigid backing substrate using a pressure or heat-activated adhesive. This helps keep the print surface flat and stable over time, particularly in larger formats. This is especially important in humid environments (like my New Orleans home) to prevent rippling of the paper.
I typically mount my images to Gatorfoam. Gatorfoam is a resin-impregnated foamcore board, with acid-free paper facing, available in oversized sheets. It's lightweight, moisture-resistant, and incredibly rigid. That’s what I like.
While I do use the top-of-the-line, acid-free, industry-accepted materials for my mounting process, dry-mounting in and of itself is seen as a non-reversible process. Technically, this is NOT ARCHIVAL. Archival processes should be reversible.
Because the process is permanent, dry-mounted prints cannot be removed from their mounting substrate without damaging the artwork.
If you think you will change your mind about presentation, and have the piece reframed in the future... or if you want to retain the option of rolling the print up into a tube and storing it for later... I would recommend AGAINST dry-mounting. Either order "print-only" or contact me for a custom quote.