Originally from an eight-print series that uses the pictorial focus of the trellis as a guiding theme. A commonly used armature for the upward growth of plants, the trellis simultaneously addresses the potential for fertile expansion and the unnatural geometric structure of the grid. Much of the imagery in the prints is sourced from photographic reproductions of formal European gardens.
This series deconstructs the perspectival “lattice” developed during the 15th and 16th centuries as a tool for organizing and rendering three-dimensional spaces as two-dimensional “landscapes”. The lattice motif in this series disrupts rather than organizes the garden view and the flatness inherent to the screenprinting process negates any attempts at spatial perspective. Additionally, the grid has shifted from its pictorial structure of the Renaissance to form the dotted armature for color image reproduction, with specifically angled “ben day” dots fanning out across the page to generate each photo-based colored print.
This series deconstructs the perspectival “lattice” developed during the 15th and 16th centuries as a tool for organizing and rendering three-dimensional spaces as two-dimensional “landscapes”. The lattice motif in this series disrupts rather than organizes the garden view and the flatness inherent to the screenprinting process negates any attempts at spatial perspective. Additionally, the grid has shifted from its pictorial structure of the Renaissance to form the dotted armature for color image reproduction, with specifically angled “ben day” dots fanning out across the page to generate each photo-based colored print.
This print is an original design from Print Club Editions. Occasionally we produce works based on imagery we develop in our studio and release as limited editions.
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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
