Palaeoptera (r)

From a dark central area, the structure opens into broad, fan-like bands. Warm tones of red, copper, brown, and ochre overlap with fine lines, grooves, and dark incisions. The surface feels dense and layered, yet it is carried by a clear internal movement that spreads outward from the center across the vertical composition.

The dark fracture lines establish the direction of the image. They cut through the warmer fields, separating individual areas while simultaneously connecting them into a coherent whole. The red and copper passages in particular give the structure a warmer, more physical presence than in the green variant; in places, the surface seems almost to retain heat within the material.

At close range, delicate layers, grain-like markings, and varying concentrations become visible. Some areas appear soft and almost translucent, while others feel dense and weighty. The sense of scale remains deliberately open: the image can be read as an immediate surface detail, yet from a greater distance it develops a spatial breadth that extends beyond the material itself.

Palaeoptera (r) moves between physical proximity and abstract order. Lines become traces, fractures become boundaries, and layers of color begin to form an inner landscape. The warmer palette gives the work a quieter, almost glowing presence - as though the surface were preserving not only structure, but also the memory of a previous state.

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.