I Should Have Been Terrified By Her Stare
I woke to a tribal, ancestral-looking woman hanging from high up the wall. Her head rotated 180 degrees. I could clearly see all the details of her face and body even though it was pitch black. I felt no fear. We maintained eye contact for some time before I fell back to sleep.
Oil & Oil Pastel on Paper.
Size: 50 W x 70 H cm
I Should Have Been Terrified By Her Stare
Oil & Oil Pastel on Paper.
Size: 50 W x 70 H cm
Signed on the back.
Acid-free 400gsm paper. It is made from high-grade cellulose and is wood free. This paper is acid-free, with archival permanence.
Shipped in a secure wooden crate.
All shipping is tracked and insured.
I Should Have Been Terrified By Her Stare
Archival quality Fine Art Giclée on 310gsm Hahnemühle German Etching Paper - which has the exact same make-up as the original is painted on - 100% α-cellulose. Acid- and lignin-free. There is a visible structure to the paper which gives a textured look and feel close to the original.
It is certified ISO 9706. Which means it conforms to museum quality for the highest age resistance.
I scan the original (not photograph) so it is as accurate as can be. Including all the oily lumps and strokes of the originals. And then if it is needed I colour-correct on a colour-accurate studio monitor with the original in front of me.
A4 - 297 — 210 mm
A3 - 420 — 297 mm
A2 - 594 — 420 mm
If you are purchasing from outside the UK you are responsible for local taxes and duties.
If you are unsure if there will be a cost, contact me and I will help.
This painting is available as an Archival quality Fine Art Giclée on 310gsm Hahnemühle German Etching Paper
A4 - 210 x 297 mm
A3 - 297 x 420 mm
A2 - 420 x 594 mm
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This paper has the exact same make-up as the original is painted on - 100% α-cellulose. Acid- and lignin-free. There is a visible structure to the paper which gives a textured look and feel close to the original.
It is certified ISO 9706. Which means it conforms to museum quality for the highest age resistance.
I scan the original (not photograph) so it is as accurate as can be. Including all the oily lumps and strokes of the originals. And then If it’s needed I colour-correct on a colour-accurate studio monitor with the original in front of me.
