What Makes Wall vs. Me Different
About Our Artworks
Floating Frame | Canvas
Printed locally in Los Angeles on poly cotton blend, our UL Certified canvas prints are mounted by hand on 100% real pine wood frames. We proudly offer the highest quality canvas prints in a fade, scratch, crack, water- and warp-resistant 100% water-based ink, perfected by chemistry for a gloss finish that lasts.
Floating Frame | Acrylic
Printed on Glossy Fuji Crystal Archive paper, under 0.08” acrylic glass, the Floating Frame Acrylic stands out in any room. Pros use the Floating Frame Acrylic to display their collections at leading art fairs around the globe. Thanks to a small gap between the frame and the edges of your image, the picture appears to float inside the frame. This gives it a unique presence; a contemporary frame for your artwork that is both elegant and subtle.
Acrylic Glass
Acrylic glass is light, shatterproof and resistant to temperature fluctuations. The properties of your print are intensified when it is mounted under glossy acrylic glass, which highlights the vivid color and enhances the impression of depth. Its extreme color vibrancy and long-lasting durability will wow everyone who walks in the room.
Passe-Partout
Our passe-partouts are made from the finest, non-acidic, fade-resistant museum card stock – guaranteed to be free of wooden fibers. These mounts are produced with a beveled edge and then set flush against the images.
Cheramy Sébastien
From the most distant memory, I think I already had a pencil or a brush. I was quickly touched by painting and its ability to give impressions and sensations. There has never been a break between childhood drawing and painting, it has always been my refuge, my means of expression. If I had to identify any constants in my work, I would analyze it this way: walking in the streets we often find things ... the walls are emergences, we can find symbolic elements. Why I have a suggestion with these images, I have never reasoned, I am intuitive. The walls give me impressions, feelings: sometimes negative or even oppression and tragedy. They are also for me a place of contemplation, of meditation, moreover, the first text of the founder of Zen Buddhism is entitled "The contemplation of the wall". These spaces are no longer a place used to enclose, separate, and prevent seeing, they become on the contrary a place, a space, and an opening towards other things. Scratches, damp spots, cracks ... the passing of time, the symbol of outdated things, closed doors, the dark and cold color of rotten ... Suddenly you see a cross, a line or writing of a bright color, a gesture of life tragic and poor in meaning in the eyes of most. Here is the contrast, the balance between life and death that emerges. Life and death, an invariable constants in my work. I don't know if I can do it, but I would like my work to lead the viewer to reflect, to meditate in front of an abstraction that is not one, my work takes the viewer towards the "real", at least the one I perceive. I work slowly through a succession of layers of material and little by little this material becomes a language, it works with my way of expressing things. The matter is very symbolic, in itself, the latter intrinsically has sufficient characteristics to express and feel things. In the beginning, when I do a painting, I can get a more or less concrete idea, but I don't know which image will appear. Your idea may be good in intention, but sometimes the material doesn't say anything at all. There are aesthetic laws that matter has and your creation follows a path of its own, a path at the same time of the intentions of the one who does.
