Backward Glance print
Small: 11" x 13"
(image size: 8.8" x 11")
Medium: 16" x 20"
(image size: 14" x 17.5")
Large: 20" x 26"
(image size: 18" x 22.5")
ABOUT THE PRINTS
Quality, archival limited-edition fine art prints on heavyweight, bright white, matte fine art paper with a luxuriously smooth surface that is able to produce extremely crisp and accurate detail and has received 100+ year archival certification from the Fine Art Trade Guild. Edition number, title, and artist signature are hand-written by the artist below the image in the white border.
"Limited-edition" means that there is a finite quantity of prints available. Small and Medium prints are in editions of 200. Large prints are in editions of 100. Once all of the prints are sold, the edition is closed. Your prints will be numbered in this format: 023/200 would indicate that it is the twenty-third print in an edition of two hundred. As the quantity of available works in an edition decreases, the price increases incrementally based on the percentage remaining in the print run.
CERTIFICATE OF AUTHENTICITY
Each piece you purchase will come with a certificate of authenticity, a signed document proving the authenticity of the work and containing details about the artwork for your reference.
Prints are shipped by Carmel Fine Art Printing & Reproduction in Carmel, California. Small and medium prints are shipped flat with glassline liners. Large prints are gently rolled with glassline into large diameter tubes/boxes.
©2016 Paul Richmond
Model: Alyssa Cubero
WAR PAINT Series
“They understand only too well the liberation into savagery that the concealing paint brought.” –Lord of the Flies, William Golding
Body painting has significance in many cultures and serves a variety of purposes from spiritual cleansing to battle preparation. My War Paint series draws upon this rich symbolism to investigate the construction of identity. In these paintings, the modern human form becomes the canvas, a painted object of his/her own creation. Reality and abstraction compete within the figurative foundation of each piece to make the subjects’ inner struggles more tangible. The application of pigment is suggestive of their psychological states, the color of their self-made armor exposing more than it conceals. By deconstructing and rebuilding the figure, my goal is to invite understandings that reach beyond the immediate surface and reveal the complexity of the individual.