As much as by choice, as by method, my prints have the characteristics of non-reprocucibility more usually associated with works on canvass. Instinct as much as creed leed me to distrust the third party or mass production of works of art intended as such. I am not entirely against it, where extreme measures and caution are applied, however, to hand files to a lab means delegate a critical part of the process to others. Even within the context of the equipment used -- with all the implications since the advent of digital,files are encrypted or destroyed, as necessary, for the complete limitation of reproducibility. All prints are also free of the interpretative filters of a third party's inkset or decisions. To be more precise, I consider that there are two classes of works that should not be confused in practice, only in theory: Mass production definitely has its place, but not for the purposes of what is to be considered a work, where it becomes an easy justification for an increasing distance between the object and its creator, with reasonings that are formally perfect but always leave that nagging sense of doubt, that innate sense that humans attach, and will always attach, to a single object that is a testament to the creator's care, love or religiosity of whatever kind.
Prints are very much limited by what can be achieved in the limited time available, with digital masters in continual evolution. Occasionally what is considered to be a satisfactory interpretation of the original conception is reached and very few works are printed, even then to halt and, if at all, to return at another time, usually by then with different equipment and outlook. The skills and challenges involved in producing a finished work in the form of a printed object are equal or greater to those concerned with its preceding development. Printing is very much a part of the painstaking creative process, whereby each combination of advanced inks and base materials produces a uniquely different result requiring both experience as well as continuous trials and proofing in order to match the original conception of the piece. As to the technical characteristics of the finished articles, it is worth noting that they are not water-based inkjet reproductions, but pigment-ink prints; similarly to oil paintings they will retain their original lightfastness for generations to come. At the time of writing, the base media, is either acid free cotton rag, etching paper or canvass produced by the German paper maker Hahnemühle, photographic paper by Felix Schoeller or baryta-based by Harman (Ex-Ilford).