Acrylic Face-Mounting

This is more than a way to print a photograph. For me, it is the final alchemical stage in transforming an image into a museum-quality art object. This is why most of my works are created at ultra-high resolution and printed using technologies recognised by the international art community, museums and leading contemporary art fairs.

Every work begins with a detailed digital recording of reality or its illusion. High resolution preserves the subtlest nuances of light, texture, air and space—details that ordinary printing cannot reveal. I use the professional Epson SureColor P9000, one of the world’s most respected fine-art printing systems. It delivers exceptional colour depth, smooth tonal transitions, archival pigment-ink permanence and extraordinary image detail. These are the technologies used to produce collectible and museum prints.

The foundation of acrylic face-mounting is a Dibond composite panel, which offers strength, stability and resistance to warping. The print is mounted onto it and then sealed beneath acrylic glass. This gives the image a distinctive depth, richness and almost cinematic glow. Acrylic enhances contrast, deepens the blacks and makes light more vivid and dimensional. The image seems to exist within the glass rather than on its surface.

This became my principal finishing method after I encountered Andreas Gursky’s practice and his legendary work Rhein II. Acrylic face-mounting enabled contemporary photographic and digital art to become monumental objects comparable to painting and museum sculpture, forming a unified object—a Source of Visual Pleasure. Today, this technology is regarded as an international standard for premium fine-art printing.