"Pitted & Nameless" Giclée
"Pitted & Nameless" Giclée
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The original artwork is a 12x12” oil painting on a gallery thick, 1.5” birch wood panel featuring a No Name can of black olives.
Fun fact! These are the black olives that I photographed for my Black Olives painting. I opened the can, shot this reference photo, organized the olives into a shot for the Black Olives reference photo for the Sustenance Series, then put them in a container and they lived in the back on my fridge for a few months and got….interesting. THEN! It came time to make the reference photo for Grazer’s Delight and I wanted to include black olives in the scene. So out the olives came from the back of the fridge. They may have been a little…off. So we washed them 🤢 dried them 😂 put olive oil on them to get that glossy look 😅 and then put them in a bowl and made sure everyone knew not to eat them 🥴
Thanks to a lovely friend of mine for washing the olives and restoring them to their previous visual splendour.
And there you have the life cycle of these particular, No Name Black Olives 😂 spanning three works of art.
These prints come on a lovely, lightly textured, archival quality, fine art paper. The print has a 2" (~5cm) border, which collectors can choose to crop to suit their fancy, or spare themselves the requirement of a matte for a frame.
**Print sizes listed are for the actual dimensions of the artwork print itself, the paper will then include an additional 2" border to either side of the print (ex: a 6x6" print will come on a 10x10" sheet of paper).
**Prints do not come framed (email hello@hannahmichellestudios.com to inquire for framing options).
The photo referenced for this painting was captured and curated by the artist, Hannah Kilby.
Details
Details
Fine Art Paper Giclée
The fine art paper has a lovely, light, natural texture to it, reminiscent of watercolour paper. The print comes with a 2" (~5cm) border and without a frame, any photos featuring frames are simply to help visualize the art. The paper used is archival quality and has a matte finish.
Stretched Canvas Giclée
The canvas print is stretched onto a 1.5" deep wooden frame, the stretched canvas edges are the raw white of the primed canvas. The canvas used is archival quality and has a satin finish.
Care Guide
Care Guide
Handle the print as lightly as possible, with oil-free, gloved hands if possible. The oils from our skin can tarnish and discolour the surface of the print.
What is a "giclée"?
What is a "giclée"?
Giclée (pronounced jhee-clay) is the term coined for the latest generation of fine art reproduction. The term means “to spurt” in French and comes from the fact that a giclée printer is basically an inkjet printer taken to the extreme. Giclées are printed with a microscopic sized dot pattern allowing for virtual continuous tone printing. Using 10 different coloured inks we are able to capture a range of colours previously unheard of, resulting in the absolute highest quality print imaginable.
Open vs. Limited Edition
Open vs. Limited Edition
Open Edition:
While of the same excellent quality as a limited edition print, there is no limit to the number of copies that will be made of the original painting when offered as an open edition print. These prints are priced more economically than their higher value counterparts for this reason.
Limited Edition:
These prints are offered as a singular, limited batch, usually of 100. Once the available prints are sold, there will not be more made. Limited edition prints are signed, dated, numbered to show which print out of the batch each is and they come with a certificate of authenticity. Due to the limited nature of these prints, they are valued higher than open edition prints.
Celebrate the vivacity of everyday life
Still-life scenes became a massive interest of mine while I attended the Ottawa School of Art from 2020-2021 for their portfolio certificate program. Surrounded by so many talented peers and challenged by class projects, I was increasingly inspired to push my comfort zone out of landscapes and into something new.
The more I dabbled, starting with sketches, then creating my “It’s Five O’Clock Somewhere” Series, then moving straight into what would become the Sustenance Series, I was more enamoured with the brilliance of mundane objects. Have you ever tried to count the number of shades in a banana peel? Thought about the play of light across and through the curvature of a cocktail glass? As I thought more abundantly about my regular surroundings, more colours burst forth with shapes full of artistic drama.
The grandeur of a sunset will likely always entice me to paint it, however there is more majesty that exists in our world beyond the snatches of travel adventures and take-our-breath-away vistas, because OF COURSE those moments should be painted, that’s a total no-brainer. The scenes I’ve been increasingly fascinated with are the more domestic, quiet beauties in our daily lives. They’re found in the backs of our fridges and pantries, in a can of No Name olives and calling the painting “Pitted & Nameless”. The subtle colour influences in the shadow cast by a cherry, the transparency of a gummy worm moments before it’s devoured and dubbed “dinner”.
We often measure the passage of time in big milestones: birthdays, anniversaries, vacations. This has a fast-forward effect on our lives, diminishing our daily experiences to mere blips. In my still life paintings I like to hit the pause button and encourage the measurement of our lives to include the little, vivacious moments over the span of our days.