Sometimes the most difficult thing for an artist is to know when to stop adding elements to a piece. Perfection is attained when everything needed is there. My work and style as a photographer is to not photograph San Francisco or Paris as it is, but to transform a city and make it different by combining several images to make a surreal vision or situation by putting famous iconic things in the wrong place or making them become something else. I sometimes wish I could draw my thoughts because the possibilities seem to be endless and thus makes things a little easier. The result and effect wouldn’t be the same because it would just be another surreal painting or drawing. The fact that my medium is photography makes the viewer more perplexed because of the concept that photography captures the “real” and things that do exist, as opposed to the impossible.
Thomas Barbèy prints are developed in a traditional-chemical based process. Note these are not ink jet prints.
Sepia Print: Kodak Professional EnduraMetallic Paper. This gallery grade print has a glossy finish and metallic appearance that creates exceptional visual depth. The print stability is 100 years in a typical home display and 200 years in dark storage (as reported by Kodak Inc.). Sepia prints are numbered and hand signed by Thomas Barbèy.
Black and White Prints: Fuji Crystal Archive Paper. It has a matte finish with a stability of 100 years in typical home display and 200 years in dark storage (as reported by Fuji). These prints are available as an open edition and not signed.
We use the finest wood available. The wood is given a look of forged, hammered metal. It looks like an old pewtered mug one would find in an European castle. The frame will fit well with a contempory environment or a traditional home. The finish is neutral with a width of 2 5/8" and Rabbet 5/8".