“艺术”在纸上打印
这是使用非常高质量的颜料墨水在美术纸上打印并以很高的清晰度打印的过程。它的保存水平非常出色（超过100年），其质量，深度和细微差别超过了在Argentic纸上的经典照片打印。
光面漆
纤维纸除了具有非凡的厚度外，还由不含酸的α-纤维素基底组成，并覆盖有硫酸钡和在印刷过程中具有微孔层吸收作用的颜料。这款纸色为纯白色，不泛黄，特别设计用于抵抗老化。它具有出色的分辨率，呈现深沉的色彩，因此已被世界各大博物馆所采用。
Art Print“美术”-在325 g纤维原纸上的光泽处理。
我们的高端印刷品和复制品
ArtMajeur仅使用从知名造纸商中精选的具有中性pH，耐性和高质量的天然纸！
无论是在色彩控制还是在图形链方面，我们的主打印机一直都在关注。我们对质量的高要求是ArtMajeur裱框艺术品的主要资产。
关于艺术家! 您可以帮助艺术家活出自己的生活。 每当您购买印刷品时，他们都会获得使用费。
关于我们的优良打印购买许可证以将此图像用于您的网站、通信或销售衍生产品。
Usage： 网络许可证
| 1001 px | ||
|
1500 px |
| 文件尺寸 (px) | 1001x1500 |
| 全球使用 | 是 |
| 用于多点支持 | 是 |
| 用于任何类型的媒体 | 是 |
| 转售权 | 没有 |
| 最大打印数量 | 0 (Zero) |
| 拟出售的产品 | 没有 |
购买后立即下载
此图片可以用许可证下载: 您可以随时下载它们。
限制
所有在ArtMajeur的图像是由艺术家创作的原创作品，所有权利是严格保留的。获得许可证后有权根据相应条款使用或利用图像。可以进行微小的修改，如重构或重新聚焦图像，使其完全符合新项目要求，但是，禁止进行任何可能损害原始作品的修改。其完整性（形状修改，扭曲，切割，改变颜色，添加元素等），除非事先从艺术家获得书面授权。
定制许可证
如果您的用途不在我们的标准许可证范围内，请联系我们获取定制许可证。
艺术图片银行-
该作品是“开放版”
摄影,
GicléePrint / 数字打印
- 外形尺寸 几种尺寸可供选择
- 独家支持 (美术纸, 金属上的印刷, 画布上打印)
- 是否含画框 有框架 (浮动框架+玻璃下, 框架+在丙烯酸玻璃下)
- 艺术品状况 艺术品完好无损
- 分类 超现实主义 景观
There is only form.
Nothing else.
形しかない。
他に何もない。
相关主题
Contemporary PhotographyFine Art PhotographyConceptual PhotographyMinimalismMonochrome
I am based in the outskirts of Matsudo, Chiba, and my work centers on subtle visual phenomena that often go unnoticed in urban and peripheral environments—unstable states of perception in which structure has yet to settle, and meaning has not yet taken form.
When I encounter the edges of domains that stand in contrast to conceptual structures, or those that have not yet entered into relation with them—spaces that contain a surplus of indeterminacy—I try to distance myself from thought, from prior visual experience, and approach the subject in an unselfconscious state.
Unconscious, bodily judgments—natural responses of the senses that arise without awareness—give rise to vague impressions. Some of these are eventually taken up into meaning and concept; others dissipate beyond the boundaries of conceptualization, like mist.
I place myself within this field of emergence and disappearance, bearing witness to the faint moment in which meaning begins to surface, and I continue a practice of recording and presenting what occurs there.
---
Visual information circulates as language once it has been conceptualized.
Yet in that very moment, the bodily dimension—the layer of pre-conceptual sensation that triggered the concept—is quietly set aside, as if its role were already complete.
My interest lies in the zone that stretches between concepts and their outside.
There, elements with seemingly self-evident conceptual force coexist—on the surface—with the unknowable and the ambiguous:
that is, with content that perception has not yet structured through language or concepts—non-conceptual content.
Yet this coexistence is, in truth, governed by an asymmetry.
The “I” that presumably exists within the world of concepts attempts to engage with non-conceptual content through the act of seeing—but is that truly possible?
My practice is a sustained attempt to extract what might lie outside of concepts through acts of recording.
Some of what emerges becomes conceptualized; some vanishes like mist.
This ongoing process—of witnessing the threshold where appearance and disappearance meet—constitutes the whole of my work.
This endeavor may appear somewhat banal.
That is because I am already speaking from within the realm of concepts.
But without fearing that banality, I wish to remain here,
and continue to bear witness to the traces of what has not yet been spoken.
