rEVERSEDcAT

This vertical work is defined by intense tones of red, orange, ochre, and deep black. The surface appears dense, rough, and heavily layered. Fine fractures, dark inclusions, and irregular traces run through the field of color, making it feel less deliberately constructed than gradually formed or exposed. In the upper section, luminous mineral-like oranges and rust tones dominate; toward the bottom, the image becomes increasingly concentrated in dark red, brown, and black.

A sweeping, almost arc-like dark structure moves through the lower half of the composition. It does not read as a precise line or a closed form, but rather as a trace, depression, or incision embedded within the surface. Dark tones gather along its edges, while adjacent lighter areas become more pronounced. This gives the image a sense of depth and physical presence while it remains fundamentally abstract.

The palette and rough materiality give the work an archaic quality. Earthy reds and ochres, dark inclusions, and irregular lines may evoke mineral pigments, weathered surfaces, and very early forms of mark-making. Nothing appears decorative or polished; instead, the forms seem to emerge directly from the material itself.

rEVERSEDcAT therefore moves between abstract surface and something elemental. Traces become signs, concentrations become forms, and color acquires an almost physical presence. The work can be read as an exploration of memory, matter, and the origins of image-making, while remaining open enough not to impose a fixed narrative.

This openness is central to the work. What first appears as pure color and texture can gradually become something sign-like - as though a form had already been latent within the surface and only became visible through looking.

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.