Palaeoptera (g)

The vertical composition is shaped by a densely fanned structure that opens outward from a dark central area into broad, radial bands. Deep greens, petrol tones, and muted ochres overlap with fine lines, grooves, and dark incisions. The surface feels at once organic and almost geological - as though it had grown, compacted, and fractured again over a long period of time.

A defining tension emerges between the broad, fan-like fields and the narrow black fissures that separate them. These dark lines run through the image like a hidden framework, giving the composition a strong sense of direction. At the same time, the transitions remain soft enough to preserve the impression of natural rather than constructed growth.

At close range, delicate layering and subtle variations in surface texture become visible. Some areas appear almost translucent, while others feel dense and weighty. The muted green palette deepens the image and gives it a quiet, almost archaic presence. Its scale remains unresolved: what begins as a detail of a natural surface can gradually expand into something far larger, almost landscape-like.

Palaeoptera (g) therefore moves between physical materiality and abstraction. Lines become traces of time, fractures become boundaries, and layers begin to resemble an inner topography. The work feels calm and concentrated, yet carries an underlying sense of movement - as though a slow process had been preserved within the surface, continuing far beyond the visible frame.

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.