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LOOMINGS, by David Ogle and Mark Devereux Projects

LOOMINGS, by David Ogle and Mark Devereux Projects

This project, brought to us by Mark Devereux Projects, required a new look at frame building for the team – creating a seamless, extra large glazed box frame, complete with a custom-painted finish, glass spacers and structural sub-frame to support the weight of the finished piece. We worked with the client to find a bare wood moulding that had sufficient depth and strength to suit such a large build, before setting to work on cutting and assembling the timber, filling and sanding any joins and corners, and applying 4 coats of paint with 3 layers of matt varnish.

Every element of the frame was carefully planned and considered, with test pieces produced at all major stages to ensure that the end result would fit the initial brief. The giclée print (measuring 1.3 x 1.1m) was sprayed with two coats of a fine art protective coating, before being dry mounted to a 5mm foamex panel and positioned into the frame. The split batten subframe was the final piece of the puzzle which ensured that the finished frame was strong and robust enough to be transported to its exhibition home in London.


“Significant within the Loomings project was the idea that the interventions into the landscape (as found in each image) should be the only indication of human activity; that the surrounding environments should depict an untouched, pristine wilderness, somehow detached from historical time.

Conspicuously within this work (Sail – 2015) we began to subtly shift from this approach – leaving visible the path of footprints in the sand that are revealed in a pool of white light. Because of this, for me, this work becomes tied to the notion of absence. The glowing cloud rises upward from some departed point of origin, seeming unearthly and impossible as rendered in the frozen instance of the photograph.

The depth of frame was carefully considered for this series, wanting the works to achieve a sculptural quality and maintaining a scale that felt appropriate for the large dimensions of the images produced. Utilising an edge-to-edge image, we wanted a viewer to be drawn into the work, as though looking out onto a physical landscape stretching out before them.

Moving to a giclee print process (rather than c-type) enabled a greater degree of choice when selecting paper type. In consultation with Klein, their knowledge and experience enabled us to select the best finish for the final work.

The moment of revealing the final pieces for the first time was fantastic – experiencing these photographs (that had previously been resigned to a computer screen) as refined and beautifully finished artworks that commanded attention in a space.  The level of consultation, care and exquisite attention to detail offered by Klein (in all areas of the work’s realisation) has been superb and really made this final production process a rewarding part of the project.” David Ogle