Rusty Ferns and Autumn Aspens by Steven Friedman

Rusty Ferns and Autumn Aspens

2012 / 2014 SFI08
Rusty Ferns and Autumn Aspens
Sizes:
15.7 x 47.2
23.6 x 70.9
Select finishing/framing:
Mounted under acrylic glass
depth 0.08" glossy, frameless, 15.7 x 47.2" (External dimensions) with acrylic glass glossy, Canadian Maple, Brown, 16.1 x 47.6" (External dimensions) On premium paper (glossy) not mounted or framed. Shipped rolled.
depth 0.08" glossy, frameless, 15.7 x 47.2" (External dimensions)
Select finishing/framing:
Mounted under acrylic glass
depth 0.08" glossy, frameless, 23.6 x 70.9" (External dimensions) profile width: 1.18", with acrylic glass glossy, Canadian Maple, Brown, 26.6 x 73.9" (External dimensions) On premium paper (glossy) not mounted or framed. Shipped rolled.
depth 0.08" glossy, frameless, 23.6 x 70.9" (External dimensions)
page.detail.shipment.estimation.sale-item
Plus tax and $ 39.90 in shipping.

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BACKGROUND INFORMATION
Windows through the forest

Steven Friedman takes the viewer on a magical journey through faraway forests and untouched nature. Ferns in countless colours wrap themselves around the bright trunks of aspen trees, in whose tops one can spot the last scattered vestiges of summer’s green. Friedman’s striking panoramas present the forests as magnificent natural spectacles. Above all, his interest lies in the remarkable diversity of wild aspen trees in autumn, a time when the landscape appears in its most diverse, dynamic and nuanced colours.

The images in “Windows through the forest” may be stationary, but they have the remarkable power to move their viewers. Friedman travels far and wide to capture the imposing landscapes: from Chile to Tasmania to the Rocky Mountains in America. This search is only half the battle, however: Once he has found his subject, the Canadian artist begins the laborious process of finding the ideal angle. Our irrepressible attraction to the photographs is a by-product of the artist’s evocative image style, which draws out nature’s hidden beauty by distilling the chaos and confusion of raw nature into structured compositions.

Friedman’s approach allows him to develop entire narratives in the images, pulling the viewers into his world. As he explained in an interview, “The prints are like windows to the landscape. I want the viewer to feel like they are beside me when I took the picture.”

The artist’s own story began on Salt Spring Island in Canada. His works have now appeared in countless exhibitions across the world, including in Los Angeles and San Diego and, in the context of the 2010 Hasselblad Masters, in Hong Kong, Copenhagen, New York, and London.

Hannah Hör
VITA
1964 born in Ottawa, Canada
Professional photographer since 2000
Lives and works on Salt Spring Island in Canada