17507

A luminous, freely suspended formation emerges from deep black. Whites, silvers, and grays condense into a fractured structure whose surface shifts between substantial matter and delicate dissolution. Along its edges, the form gradually loses its cohesion; individual particles separate and seem to drift almost weightlessly into the surrounding darkness.

The space around it feels boundless. Numerous fine points of light are scattered across the upper half of the image, creating an extraordinary sense of depth. The scene takes on a cosmic quality: the central formation appears as an isolated fragment within a vastness in which proximity, distance, and scale begin to lose their familiar meaning.

At close range, luminous concentrations, dark incisions, and granular structures become visible. Some passages feel dense and physical, while others appear almost permeable. This constant shift gives the form its particular tension - as though it were suspended for a moment between cohesion and dissolution.

The absence of a fixed scale keeps 17507 deliberately ambiguous. What first appears as a single structure gradually opens into a much larger spatial context. Light, matter, and darkness combine into a sense of distance and movement without defining a specific place or phenomenon.

17507 captures a fleeting state: a formation that feels physically present and yet almost weightless. Surrounded by deep black, it seems less to occupy space than to float within it - silent, detached, and briefly visible within a far greater order.

Each work is produced as a photographic print on glossy Fuji Crystal Archive photographic paper. The material offers a smooth, even surface, subtle tonal gradations, rich color density, and a pronounced depth, particularly in the darker areas of the image.

Production takes place individually to order at WhiteWall, an internationally established and award-winning photographic laboratory specializing in professional photographic production. There, the photographic print, acrylic glass, and framing are precisely coordinated and assembled into a fully finished work. The frames are also produced in WhiteWall’s own frame workshop.

The photographic print is presented behind 2 mm thick, glossy acrylic glass. Its clear surface protects the image while enhancing color, contrast, and spatial depth. Compared with conventional glass, acrylic glass is significantly lighter and more resistant to breakage - an important advantage, especially for larger formats.

Two different framing options are available.

The Slimline frame in black aluminum is designed to remain visually discreet. With a visible frame width of just 1 mm and a depth of 5 mm, it appears from the front as little more than a fine black line around the image. Its slim profile keeps the work close to the wall and reinforces a precise, reduced visual presence.

The ArtBox in black oak wood gives the work a much stronger spatial presence. Its visible frame width is just 4 mm, while the frame depth is 35 mm. This allows the work to project more clearly from the wall. The depth of the frame and the shadow it creates, depending on the direction of the light, give the photograph a distinctly object-like character.

The glossy acrylic glass gives the photograph a clear and intense presence in the room. Colors and contrasts appear particularly pronounced, while darker areas gain additional depth. Depending on the light, the surface can subtly change in appearance, allowing the work to respond to its surroundings.

The choice of framing primarily affects the spatial character of the work: Slimline offers a restrained, nearly flush presentation in which the image itself remains the main focus, while the ArtBox creates greater separation from the wall and emphasizes the work’s physical, object-like presence.

Both framing options are fully finished by WhiteWall and delivered ready to hang, including suitable hanging hardware. No additional framing is required.