This piece was produced directly from collages that Carrau designed specifically for this edition. His original collage has been translated at a 1:1 scale to keep intact the textured appearance of the hand-torn paper edges and engender a sense of the physicality and layering of his patterned paper shapes.
Carrau’s approach to the still life or nature morte redefines that subject as an idea and artistic method. His explorations of flora still life draw on the centuries-old tradition and infuses it with a new cultural relevance. Through the assembly of torn paper, his method of image construction begins with a process of deconstruction. The visible white edges of paper that remain as evidence of their tearing imbue the compositions with a compelling sense of impermanence or flux.
Carrau’s approach to the still life or nature morte redefines that subject as an idea and artistic method. His explorations of flora still life draw on the centuries-old tradition and infuses it with a new cultural relevance. Through the assembly of torn paper, his method of image construction begins with a process of deconstruction. The visible white edges of paper that remain as evidence of their tearing imbue the compositions with a compelling sense of impermanence or flux.
Antonio Carrau (b. Montevideo, Uruguay) is trained in graphic design but brings his compositional sensibilities to a captivating body of tactile collage and painted works. Treating the autographic process of collage as the antithesis of Photoshop, he thrives on the productively that his material limitations can provide. Carrau’s graphic design background is evidently still influenced by the crispness of graphic design, his vibrant collages lie somewhere between abstraction and reality. Whatever the composition, the visible textures, formed from the collaged pieces of paper pasted on top of each other, elevate the image into the three-dimensional. Carrau recently presented Fountainebleau, a solo exhibition of his paintings at Bisualeko gallery in Montevideo, Uruguay.
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Our typical framing practice is to float mount prints with 1-inch (2cm) of space around the print. This is a method of framing that keeps the art fully visible in the frame and leaves the edges of the cotton papers exposed. A spacer is added to the frame to keep the artwork from touching the plexiglass. Float mounting requires adhering the print to an acid free foam core back or mat board using acid free linen tape.
UV-filtering plexiglass is used for all frames, an option that has become the industry standard. Plexiglass is lighter, scratch-resistant & shatter-resistant (essential for shipping). It also provides more UV protection and less glare than glass.
Please note that Premium Framing options are currently only available to US clients. For clients in Australia, please email us and we can share framing recommendations based on your location. More information about Custom Framing
UV-filtering plexiglass is used for all frames, an option that has become the industry standard. Plexiglass is lighter, scratch-resistant & shatter-resistant (essential for shipping). It also provides more UV protection and less glare than glass.
Please note that Premium Framing options are currently only available to US clients. For clients in Australia, please email us and we can share framing recommendations based on your location. More information about Custom Framing
