These relief prints are compositional studies inspired by the facades of buildings designed by British “Hi-Tech” architects of the 1980’s. The prints share an identical, gridded structure but vary in color and detail. The difference in their composition is visible within the montage of halftone dots and lines that vary in scale within each print. The prints are developed using photo-editing software and produced as photo-polymer letterpress printing plates. Impressions from these plates are printed by hand on a vintage press. The process produces images in an opaque, velvety ink film, which contrasts with the embossed platemark and thick, textured paper.
Graham McDougal (b. Edinburgh, Scotland) studied at Cumbria College of Art and Design and at Duncan of Jordanstone College of Art and Design, Dundee, Scotland, before earning a Master of Fine Arts from Southern Illinois University, Carbondale. His work and exhibitions begin with the printed page, which he approaches as a site, and source for research and studio production. This involves photographing and scanning pieces of print ephemera, rare books, essays on art, typography and architectural design. These are typically found in used book stores or located in library collections. The publications that inform his work often describe how radical changes in the means of production can alter the function and intention of objects.His work has been exhibited recently at Providence College Galleries, Regina Rex, New York; Firstdraft and KNULP, Sydney, Australia; and Outside Gallery, North Adams, Massachusetts, Tiger Strikes Asteroid, Chicago and Fjord Gallery, Philadelphia. His prints and multiples have been included in projects at the Print Center Philadelphia, IPCNY and Printed Matter Inc, both in New York. McDougal is currently the co-director of the a collaborative print publishing project Print Club Ltd. And he has taught within the art programs at Cornell University, Oberlin College, the School of the Museum of Fine Arts at Tufts University the University of California Davis.
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Our typical framing practice is to float mount prints with 1-inch 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. Standard Framing – We work with online framing company Simply Framed to offer three standard framing finishes; White, Natural and Black. For those interested in different finishes beyond these three, they can view the full selection of Simply Framed options and email us prior to purchase, allowing us to provide a quote and finalize arrangements. More about the Standard Framing processPremium Framing – We work with Boston-based fine art framers, Adjective Art & Framing to select specific framing options for each of our invited artist editions. Adjective builds custom-made contemporary hardwood frames for artists, collectors, galleries, and museums. Their standard line of moldings are milled from sustainably sourced hardwoods (often Ash, Maple, Walnut or Cherry) that are then custom stained or lacquered. Adjective backs all their frames with sturdy wooden strainers, reinforcing their structure and allowing their profiles to be narrower - an elegant way to present contemporary prints. For those interested in different finishes beyond those we’ve selected, they can view the full offering of finishes from Adjective and email us prior to purchase, allowing us to provide a quote and finalize arrangements. More about the Premium Framing Process
More information about Custom Framing
