Jerry Birchfield – Untitled (III)

From a series of three silkscreen prints that are each layered reconstructions of imagery originally created by Birchfield as silver gelatin photograms. A photogram is created in the darkroom by placing objects on top of light-sensitive photo paper and then exposing the paper to a light source. The result is a ghostly record of the various objects now captured within the surface of the paper. Many of Birchfield's pieces offer a textural accounting of some unknown passage of time or moment of destruction. Through the slow, layered application of screen printing inks, the process of constructing these images felt akin to a rebuilding.

For this series there is an incremental move from lightness to darkness across the trio of designs. Two of the prints are on white paper while one builds its imagery up on top of black paper. We used numerous layers of subtly shifting metallic inks to capture the rich, slightly iridescent surface of Birchfield’s silver gelatine photograms.

Jerry Birchfield, (b. 1985), lives and works in Cleveland, OH. He holds an MFA from Cornell University (2014). In Cleveland, Birchfield has exhibited at SPACES Gallery, Zygote Press, the Museum of Contemporary Art, the sunroom, and the Cleveland Foundation as well as the Print Center in Philadelphia. Stagger When Seeing Visions presented at the Cleveland Museum of art in 2017 was Birchfield’s first institutional solo exhibition.

Jerry Birchfield’s practice revolves around the question of how images emulate or subvert the sources from which they came. Through complex photographic and sculptural processes, his works go through various stages of transformation, from surrogate to self-reference. The making of meaning is synonymous with the search for the beginning and the end.

Our typical framing practice is to float mount prints with 1-inch of space around the print. This is a method of framing that keeps the art fully visible in the frame and leaves the edges of the cotton papers exposed. A spacer is added to the frame to keep the artwork from touching the plexiglass. Float mounting requires adhering the print to an acid free foam core back or mat board using acid free linen tape.

UV-filtering plexiglass is used for all frames, an option that has become the industry standard. Plexiglass is lighter, scratch-resistant & shatter-resistant (essential for shipping). It also provides more UV protection and less glare than glass.

Standard Framing – We work with online framing company Simply Framed to offer three standard framing finishes; White, Natural and Black. For those interested in different finishes beyond these three, they can view the full selection of Simply Framed options and email us prior to purchase, allowing us to provide a quote and finalize arrangements.

More about the Standard Framing process

Premium Framing – We work with Boston-based fine art framers, Adjective Art & Framing to select specific framing options for each of our invited artist editions. Adjective builds custom-made contemporary hardwood frames for artists, collectors, galleries, and museums. Their standard line of moldings are milled from sustainably sourced hardwoods (often Ash, Maple, Walnut or Cherry) that are then custom stained or lacquered. Adjective backs all their frames with sturdy wooden strainers, reinforcing their structure and allowing their profiles to be narrower - an elegant way to present contemporary prints.

For those interested in different finishes beyond those we’ve selected, they can view the full offering of finishes from Adjective and email us prior to purchase, allowing us to provide a quote and finalize arrangements.

More about the Premium Framing Process