8.6/8.7

This vertical work is reduced to two large, clearly separated fields. The upper half remains almost entirely white, creating a sense of openness, stillness, and space. Beneath it lies a dense field of deep blue and turquoise, whose irregular, granular texture forms a distinctly material counterpoint to the smooth brightness above.

The boundary between the two areas is almost horizontal, yet slightly uneven and frayed. It is precisely this small departure from a perfectly straight division that gives the composition its tension. The blue field appears to build up along this edge, rising and receding in subtle variations. Despite the work’s strict reduction, this creates a quiet sense of movement within the image.

The lower section reveals numerous fine tonal shifts. Deep blue, petrol, and turquoise condense into a rough, almost mineral-like surface. Small darker and lighter particles interrupt the field, making it appear far more differentiated at close range than its clear overall structure initially suggests. The white area above remains almost empty, intensifying the density and color of the lower zone.

From a greater distance, 8.6/8.7 appears exceptionally calm and precise. Its strong division may evoke a horizon, a waterline, a coastline, or a transition between two states without depicting any specific landscape. Viewed more closely, the perception shifts away from spatial association toward the material quality of the surface and the subtle irregularities of the dividing line.

The work can be read as an exploration of emptiness, density, and boundary. The two fields derive their impact directly from one another: the white makes the blue appear heavier and more intense, while the blue gives the empty space above a distinct spatial presence. The result is a reduced yet quietly charged composition between openness and concentration, stillness and structure.

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.