Contact Sheet Series Border Town Stretched Canvas Giclee Fine Art Print 19x47in.
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Contact Sheet Series Border Town Stretched Canvas Giclee Fine Art Print 19x47in.:
Contact Sheet Series
Collectible Art Giclee
Signed & Fully Hand Stretched
LIMITED EDITION of 50!
World Wide Guaranteed
Top Giclee Print 100% Guaranteed
Hand Stretched Giclee on Canvas
Ready to Hang
Size: 19 11/16 x 47 1/4 inch - 50 x 120 cm
A Giclee is a process utilizing the latest digital technology and sophisticated machinery and software to replicate original works of art.
All prints are printed on Heavy Weight Matte Artist Canvas, Acid Free, using Archival Inks.
Not all giclees are printed on canvas but that is what we use exclusively. Because high quality is required, most museums today display giclees when the originals are not available.
Our works of art are brought to life on stretchable 100% cotton canvas as all fine art was meant to be.
All prints are printed on Heavy Weight Matte Artist Canvas, Acid Free, using Archival Inks. Our stretched and framed art arrives ready to hang and neverneed a
mat or glaring glass to detract from their natural beauty.
We only work with the finest materials - 100% GUARANTEED.
Artwork Printing & Design:
All work is done at the workshops of Studio Vandenhove - Mexico City.
The printing of the Giclee, the wooden boxes, the Mug printing, the printing and handeling of the tiles, everything is hand made, one by one, at our workshops.
From the art design, the printing, the stretching from the canvas on the frame; every step
in the process is done by us!
Shipping and Handling:
Your artworks will be shipped with the utmost care.
Please allow 5 business days after cleared payment for sending this artwork to your place. We personally ensure that all our artwork, giclee and mugs are properly packed. We do our best to deliver as fast as we can, but first we always provide:
top printing - top handling - top shipping.
FREE Shipping (!!) to:
The United States of America, Canada and Mexico.
Free Shipping only applies within the Continental United States, excluding Hawaii, Alaska and Puerto Rico. Please contact us for a shipping quote.
Europe and Latin America: 200 USD
Rest of the world: 290 USD
NO international shipments will be made without a tracking service. All our mugs and artworks will be shipped with tracking number, NO exception.
PAY PAL PREFFERED
1. Pay at Pickup
Rest of the World:
Guarantee & Refunds:
As previously mentioned above: your purchase will travel with FedEx, DHL, or MexPost EMS and Tracking Service.
All the staff at Studio Vandenhove is 1OO% committed to keep up quality, consistency and quantity.
Please email us immediately if there is a problem.
If you are not 100% Satisfied with your purchase, you can return your order to our studios for a FULL refund.
Before sending back an item for a refund or exchange, you must contact us and request an item return form.
Once your return is received and inspected (usually within 72 hours of receipt), your refund will be processed and a credit will be automatically applied to your original method of payment within 7 days.
Feel free to contact us with any questions.
About Wilfried Vandenhove
CEO and Artist Studio Vandenhove
Born in Belgium. He studied at Sint-Lukas Brussels, the city in which he later lived and worked for another two years, but he’s been living and working as an artist in Mexico City for the past 12 years. Before he left for Mexico in 1998, he burned all his negatives and began his art work with a fresh start in Mexico. During all these years he developed a large and diverse collection of works and literally rolled from one project into the next, some of which are completed, while others are still ongoing. His work is a mixture between Europe and the American continent. His many years in Mexico mean he became strongly influenced by the way Americans use images be it postcards, magazines, billboards, urban landscapes, art, photography, architecture; in restaurants, hotel lobbies, on the road, in the city, the village, museums or galleries. Two years ago Vandenhove founded the Golden Acapulco Studios. A creative place where art and design come first. The idea is to create art and design at a democratic price, without sacrificing quality. For the moment we are working on Art Mug, Limited Edition Posters, tiles transformed into works of art through sublimation. Works as small as one tile and big as a mural. Little by little, we are developing our clothing line, t-shirts and jeans as a departure point
In other Words
“Untitled Blue,” the images in this series were all shot with a old Kodak Brownie camera in Mexico City at dusk when the city is immersed in a deep blue hue. With the Brownie camera you only have one shutter speed and one diaphragm, so you only have about 30 minutes to work in, which makes it an exciting challenge to take photographs. This short time span also requires strong concentration during the shoot and good judgment to estimate the available light in order to avoid disappointing results of a developed slide film that has no images on it except a deep black, which happened several times in the creation of this work.
“A Beautiful Noise,” large panoramic images of the north of Mexico, the US Border and the desert. An extreme landscape in many ways; the migration problems, the extraordinarily harsh desert climate, the melting pot of nationalities and languages. The influence of America on cities such as Tijuana, Ciudad Juarez and Nogales is very visible in the street scene. Then there are also the intense wars that rage between the drug cartels in these border towns. Because of the use of the panoramic format, film is never far. he is involved completely and solely with the image; the image is his medium, just as the image is also the medium of the painter. Colour, perspective, culture, cinema, and painting; they all cross his path in this work.
‘Mexico City, an early victim in the colossal downfull suffered by many Latin American, African and Asian capitals, is the backdrop for the work of Belgian photographer Wilfried Vandenhove. Vandenhove has lived for years in neighbourhoods housing some of the poorest people in Mexico City. These chaotic settings contain the most haunting examples of the precariousness in which human life can exist. His stark photographic essays throw a harsh light on the appalling urban scene whose inhabitants are forced to live in conditions of profound and morally indefensible squaler. Inevitably condemned to social invisibility, their sole presence in images projects the despicable abyss we have contrived to create and strive to ignore.’
C Photo Magazine No. 3
‘His car is like a small spaceship with dozens of cameras and sensors that soars over the surface of a planet. In a silent mode, impregnated with an anonymous, cold and mechanical beauty that does not, and never will, need us. Just like Mexico never asked for this photographer. Is that not what photography is? A voice in the void.’
‘Mexico. Latin America. he did not take root in its soil, yet has acceded the country as his model. The painter, the photographer uses her, not as a loved one, not as a lover, but because of her promise of movement. As an expression, a position, a shape he can use in his work.’
The portrait series of ‘Karina’ and her family is the final piece of Wilfried Vandenhove’s (Belgium, 197O) extremely sobering documentary about – and with – a group of children surviving on the streets of Mexico-City, where the photographer himself works and lives for more than twelve years now. The vivid sequence of the portraits of Karina and her mother, her sister and daughters, her husband and family-in-law actually form an antithesis, heightened by the contrast with the other body of Vandenhove’s photographs that do show the hidden, tough reality of the Environment of street children: the devastating decay of the Environment, the body and the social fabric. It is the habitat of Karina who in her former life was one of the street children that Wilfried Vandenhove came to know.
But at the end of the day you can also see these Polaroids as a zero point that anticipates a new life for which the foundation has been laid but which is still largely unknown and unconquered territory. Consequently, Wilfried Vandenhove stage-manages a kind of amnesia in his portraits; all traces that could remind us of that overpowering negative context are omitted.
The Polaroid camera with its relatively inferior technology, which at best produces a spectrum of artificial, unstable colours and diffuse light, is essential for Vandenhove’s photographic narrative. Its use is misleadingly simple, according to Walker Evans, who in the last months of his life worked exclusively with a Polaroid camera, which he referred to as ‘the toy’. ‘The Polaroid camera reduces everything to the level of your intellect and feelings. This is why I find the medium so fantastically interesting; I feel that this is the very instrument to test whatever may be on your mind. ‘The damned thing does whatever you are focused on. You really have to have an understanding of your subject before you can point the camera. You need to understand what is grabbing your attention, and why – even if this happens instinctively.’ (Walker Evans, Polaroids, Scalo, zd) It is also the quality of Vandenhove’s ‘brain and taste’ that make these portraits the ‘right’ kind of statement about the struggle of the homeless to survive in this world, without any decorum, spectacle or pretence. What touches you in these Polaroids, which were taken with gut feeling, is the visual and expressive power of thoughtful yet at the same time instinctive observation.’
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Copyright © Wilfried Vandenhove. All Rights Reserved.
The artwork - design - fine art photographs of Wilfried Vandenhove & Studio Vandenhove are all copyrighted and may not be reproduced in any form or by any means, without prior permission in writing from the artist.