frostbitten prism

Hahnemühle William Turner is a matte, mould-made cotton paper, no glare — the calmest of the three and the most tactile. Photo Silk Baryta X has a fine sheen, deep blacks and crisp detail. Acrylic glass is the most vivid: high saturation and a luminous, reflective surface.

Close, but never identical. A display emits light, a print reflects it — so the sheet reads quieter and deeper than your monitor. Every file passes through calibrated color management, and each material shifts the result a little: matte paper softens, acrylic intensifies. If an exact tone matters, write to me before ordering.

That's deliberate. Every size runs in a fixed, capped edition — the cap is what makes it limited, not a signature. Hand-signing and numbering each print adds handling, and that cost would land on the price. Leaving it out keeps it within reach.

Archival pigment inks on acid-free, museum-grade paper are made to last — provided you keep them out of direct sunlight and off damp walls. Dust the paper with a dry, soft cloth and never wet it. Acrylic takes the same treatment, but no alcohol and nothing abrasive. Handle unframed sheets by the edges.

Each work exists in 3 fixed sizes; that's part of how the editions are defined. For anything beyond that, get in touch and tell me what you have in mind — I'll say honestly whether it can be done.