Swedish Pine & Hand-cut Glass
The frames we use are customised to size and locally handmade. The structures are built from solid Swedish pine (furu); a stable, light wood chosen for its rigidity and even grain.
Sizing chart
Flush Mount
A traditional gallery-style configuration where the artwork is mounted directly against the glass. This creates a stable, low-profile presentation.
- Mounting: Flush mount (no air gap between print and glass).
- Glass: 2 mm float glass.
- Construction: Solid Swedish pine with a 15 mm (0.6 in) face and a 30 mm (1.2 in) depth.
- Archival Integrity: Assembled using acid-free adhesives and pH-neutral materials.
- Frame size: 29 × 43 cm (11.4 × 16.9 in) and 43 × 65 cm (16.9 × 25.6 in)
Shadow Box
A contemporary presentation where the artwork is set back from the glazing using an internal spacer. This creates a protective physical gap, ideal for preserving the unique surface of metallic or textured papers, while introducing a subtle three-dimensional depth to the frame.
- Mounting: Spacer mount (an internal spacer creates an air gap, ensuring no surface contact between the print and the glass).
- Glass: Museum Glass. 2 mm hand-cut, UV-resistant, non-glare art glass. Protects the surface while maintaining absolute optical clarity and reducing reflections.
- Construction: Solid Swedish pine with a 15 mm (0.6 in) face and a 30 mm (1.2 in) depth.
- Archival Integrity: Assembled using strictly acid-free components—from the internal spacers to the sealing tapes—to ensure museum-quality age resistance.
- Frame size: 29 × 43 cm (11.4 × 16.9 in) and 43 × 65 cm (16.9 × 25.6 in)
In Operator, the figurative is distilled into a different kind of portraiture. Identity is not treated as confession, it is treated as pattern. The “I” is not a noun, it is an act. The self is not representation, but continuation. Much art performs identity. This refuses it. The self is behaviour, and what repeats becomes legacy.
The work does not ask to be decoded as a message. It wants to be felt as an after-effect. Intention can begin movement, but it does not contain the result. Meaning arrives while we go about our lives, as consequence beyond intention. What happens becomes the author, the part that remains after it has passed through time, material, and system.
The work is painted by hand on a screen and realised as archival pigment prints on metallic fine art paper. This transition is not just a production step, it is part of the authorship. The surface behaves like skin, holding marks, shifts, and texture, because what is real needs to have friction.
Paper sizes include a gallery border.
Scale 0, Open edition
Paper: 11⅓" × 17" (29 × 43 cm)
Image: 8" × 12" (20 × 30 cm)
Gallery border: 1⅔" sides (4 cm), 2½" top and bottom (6.5 cm)
Framing suggestion: Fits well in 40 × 50 cm frames with a mount, or in 33 × 43 cm (13" × 17") frames, or float-mounted
Scale I, Edition of 63
Paper: 17" × 25.5" (43 × 65 cm)
Image: 12" × 18" (30 × 45 cm)
Gallery border: 2.5" sides (6 cm), 3.75" top and bottom (10 cm)
Framing suggestion: Fits well in 50 × 70 cm frames, typically with a mount, or float-mounted.
Scale II, Edition of 21
Paper: 24" × 36" (61 × 91 cm)
Image: 18" × 27" (46 × 69 cm)
Gallery border: 3" sides (8 cm), 4.5" top and bottom (11 cm)
Framing suggestion: A direct fit for 24" × 36" frames (often sold as 61 × 91 cm).
Scale III, Edition of 7
Paper: 36" × 54" (91 × 137 cm)
Image: 28" × 42" (71 × 107 cm)
Gallery border: 4" sides (10 cm), 6" top and bottom (15 cm)
Framing suggestion: Best framed professionally, either float-mounted or with a wide mount in a custom frame.
Scale IV, Edition of 1
Paper: Paper width 50" (127 cm), includes additional margin outside gallery borders with crop marks for handling and framing.
Finished paper (trim to): 44" × 66" (112 × 168 cm)
Image: 36" × 54" (91 × 137 cm)
Gallery border (on trimmed size): 4" sides (10 cm), 6" top and bottom (15 cm)
Framing suggestion: Intended for professional gallery mounting (float mount, aluminium backing, or a bespoke frame).
Framing suggestion: Intended for professional gallery mounting (float mount, aluminium backing, or a bespoke frame).
Note on measurements: Inch measurements are exact. Centimetre values are rounded for legibility.
Hahnemühle Photo Rag Metallic
340 gsm, 100% cotton
Natural white, without optical brighteners
Sophisticated surface texture with a unique, silvery-shimmering metallic effect
Acid and lignin-free
ISO 9706 compliant, museum quality for high age resistance
Ultrachrome® Pro12 Pigment Ink
Handle by the edges. Keep out of direct sunlight and high humidity.
Subtle variation between screen and print is expected; the physical surface of the metallic carries depth and tonal behaviour that screens cannot reproduce.
Please note that digital screens cannot perfectly replicate physical pigments; the print itself is the definitive reference for color and texture. Subtle variations in character are inherent.
Caring for Your Hahnemühle Photo Rag Metallic Print
This artwork is printed on 340 gsm Hahnemühle Photo Rag Metallic paper. Made from 100% cotton, it features a beautiful, silvery-shimmering finish that catches and reflects light dynamically, giving the piece a truly unique glow.
Here are a few simple suggestions to help you handle and frame your new piece:
Unpacking & Handling
- Handling the paper: The special metallic finish can sometimes pick up natural oils from your hands or show fingerprints. To keep the image pristine, it's best to lift and hold the print by the unprinted white borders.
- Keep it clean: If you have clean cotton gloves handy, feel free to use them! If not, just make sure your hands are clean and dry before unpacking.
Flattening the Print
Because this paper is quite thick and features a specialized metallic coating, it will naturally want to stay curled after traveling in its shipping tube. It just needs a little time to relax before framing.
- Unroll: Gently unroll the print onto a clean, flat surface.
- Protect: Keep the included tissue paper draped over the artwork to keep dust off.
- Weight it down: Place clean, flat, heavy objects (like large books) on the corners to gently press the paper flat.
- Let it rest: Leave it to settle for a day or two. Don't worry if the paper feels a bit stiff or stubborn at first—the metallic surface makes it more rigid, but it will flatten out beautifully once properly mounted by your framer.
Framing Suggestions
If you are working with a local framer, here are a few recommendations to achieve our atelier’s signature look:
- Use a spacer: Ask your framer for a "spacer" mount. This creates a small physical gap between the glass and the artwork, preventing the metallic paper from sticking to or pressing flat against the glass.
- Frame style: A simple wood profile (we love a 15 mm face and 30 mm depth) frames the work beautifully without overpowering the subtle shimmer of the paper.
- Glass: Anti-reflective glass with UV protection (such as Artglas) is a fantastic choice. It cuts down on glare so you can truly appreciate the metallic effect, and it helps protect the pigments from fading in the sunlight.
- Materials: Simply ask your framer to use acid-free backing boards and tapes to keep the paper healthy over the years.
General Care
- Keep it dry: Avoid using liquids, damp cloths, or cleaning sprays near the unglassed print, as moisture and heavy friction can leave marks on the metallic finish.
- Dusting: If the print needs a quick dusting before it goes into the frame, a very light sweep with a soft, clean brush will do the trick perfectly.
All works are shipped with tracked delivery. Insurance is included where available through our shipping partners. We ship to collectors worldwide.
Limited editions typically dispatch within 5 to 10 business days after order date.
