“Triad” mounted on anodized aluminum

Most of my black and white work is printed on Japanese Kozo paper and archivally mounted on anodized aluminum. I usually leave a 3 inch border of satin silver anodized aluminum to serve as a frame with the image floating in the middle. The anodizing process forms a layer of oxide on a metal part, effectively increasing corrosion resistance, and also enhancing visual qualities and keeping the surface from being scratched.

“Triad” close-up

A close-up of the anodized aluminum giving a better idea of the beautiful surface it provides and the symbiotic relationship with the black and white pigment print. Aluminum is a great surface for mounting as it is inert and will not degrade the print on the surface over time. The mounting can also be reversed without damage to the mounted image in the event it needs to be removed.

“Triad” Verso

The verso of all the prints mounted on aluminum come with a 1 inch deep frame on the back for increased stability and ease of hanging. Each mounted image comes with an attached cleat which can be removed and screwed into a wall for easy hanging. The frame also moves the print out from the wall for added depth and elegance. This mounting frame comes with all mounted prints, including mounted linen on aluminum.

Belgian Linen Mounted on Aluminum

“Arch” on Belgian linen mounted on aluminum

Much of my work is printed on archival Belgian Linen and mounted on aluminum. It is an elegant, beautiful ivory linen with some subtle color variations over different lots. Again, the aluminum provides a stiff surface that is archivally sound and will not degrade the linen over time. The same cleat hanging system is used with linen (see description for black and white).

“Arch” on Belgian linen close-up

As with anodized aluminum I generally use 3 inch borders all around but with linen it covers the aluminum to the edge. The generous borders allow the tactile beauty of the linen to play a part in the presentation of my work.