Wild Horse Artwork III: Wrapping it Up
- Maria Marriott
- Oct 26
- 4 min read
In my last two articles, I discussed the two most popular production methods for my photographic artwork: archival fine art paper, gallery-framed; and dye sublimation on aluminum. As with artwork, in general, the medium on which artwork is produced is always a matter of taste - both for the artist and for the client. However, to ensure longevity and enhance value of my wild horse artwork over time, my approach is to always produce it using the best materials and to prepare the presentation of the piece at the same quality level.
As mentioned, artists often pour immense energy into creating work that challenges perception and evokes emotion, yet the final presentation—including framing—is frequently overlooked, diminishing the impact of even the most compelling pieces. Recognizing this disconnect, I have adopted a much more deliberate approach to the presentation of my pieces, treating it as an essential part of my artistic process and striving for a standard that honors the integrity of the images themselves.
To share this philosophy more broadly, I wrote this series of blog posts about the production methods we use most, offering some useful insights into the materials I choose (and avoid) and the reasoning behind those decisions. The goal is to bring greater transparency and care to every stage of my creative journey, ensuring that the presentation reflects the same thoughtfulness as the art itself.
This time around, we will wrap up with a discussion of two production options I offer for my photographic art: flush mounted plexiglass (acrylic) and archival canvas.
FACE MOUNT PLEXIGLASS
Face-mounting on acrylic is a premium method for producing photographic prints that emphasizes clarity, depth, and archival quality. The process begins by printing the image onto high-grade archival paper—often metallic or glossy for enhanced vibrancy—using pigment-based inks. The print is then bonded to the back of a crystal-clear acrylic sheet using optically transparent adhesive. The result is a striking visual effect, amplifying contrast and color saturation while maintaining exceptional sharpness. The acrylic also acts as a protective layer, shielding the print from UV light, moisture, and physical abrasion, making it ideal for both gallery display and long-term preservation.
In contrast, direct printing onto acrylic involves depositing UV-cured inks directly onto the surface of the acrylic using a flatbed printer. While this method is more cost-effective and allows for faster production, it sacrifices image fidelity and depth. The inks sit on the surface rather than being viewed through a refractive layer, which can lead to reduced sharpness and color richness. Additionally, direct prints are more susceptible to surface imperfections, and the reflective gloss of the acrylic can introduce glare that obscures fine detail. Over time, the printed surface may also be more prone to fading or scratching, especially in high-traffic or sunlit environments. For collectors and professionals seeking museum-grade presentation, face-mounted acrylic remains the superior choice.
For certain images - especially my color images with intricate details - the face mounted acrylic is an outstanding option. We do not offer the direct printing option described above because of some of the potential issues and the high standards to which we hold the final presentation.
CANVAS
Producing photographic images on canvas is an option that we only consider in certain situations - or if specifically requested by a client to achieve a desired goal. In certain cases, canvas may reduce the sharpness and detail of an image due to the texture of the material, impacting the quality of the image. It becomes a delicate balancing act to determine whether canvas production will enhance or detract from the image, a determination, like with every other mediums, that must be made on a case-by-case basis.
A good example of use of canvas was when a client asked us to produce a very large scale piece of my wild horse photography. Since the piece needed to be approximately ten feet wide, several factors suggested canvas production, including clarity of the image, weight of the final piece, and the aesthetic of the room in which it would be hung. The canvas piece was mounted in an iron frame, matching the decor of the room and resulted in a more “finished” look as opposed to a simple canvas wrap.
When we do produce canvas pieces for clients, we highly recommend a simple and modern framing option to finish the pieces. As I’ve already discussed related to the presentation with other mediums, the final presentation of stretched canvas (including framing and finishing) should match the quality and care that was put into creating the image that it houses.
WRAPPING UP
The presentation of the artwork should be at the same level of the artwork itself - at least that is the standard to which I hold my work.
I truly enjoy talking with collectors (and prospective ones) about the best treatments for presenting their chosen image as this is the environment I operate in every day. So feel free to reach out to discuss.
Over the past ten years, I’ve been able to cultivate relationships with mater producers and framers throughout the country and have access to some brilliant minds in the art business for some of the great questions my clients ask.
If you aren’t already aware, we offer a free “mock up” service that will allow you to see a simulation of any of my images with the various treatments discussed in your own space. Please contact us at the studio if we can help you in any way.
About Maria Marriott
Maria's equine artwork has been recognized for its emotional impact and intimate portrayal of wild horses.
Maria works closely with several non-profit organizations focused on the benefits of equine therapy and preservation of the mustangs on US Western lands.
Comments