740 results found for “naminos*”

The answer to a wide wallSingle canvases have a practical ceiling. Past a certain width they become expensive to ship, awkward to hang and prone to bowing.Multi-panel work solves that. Splitting the image across separate panels covers considerably more wall for the same money,...

Two wolves, opposedFire against ice, warm against cold, in a single composition. It is the most graphically direct piece in our painting range and it works because the contrast is doing all the work.The reading is duality: two natures held in one frame. That...

Presence without dominanceThis is the piece we would put top of the range, and the reason is balance rather than drama.A white wolf lying on rock, forepaws forward, lit against a night sky of heavy cloud, bare branches and scattered stars, has enough weight...

The one piece that is not about a wolfEverything else in this range shows an animal. This shows the creature from the story instead: a snarling head in profile with the mane swept back, one red eye as the only colour in an otherwise...

Two faces and a moonTwo white wolves in profile, muzzle to muzzle, with a full moon held in the gap between them and a smaller wolf howling from a rock below.The pale fur and the blue eyes carry almost all the light in the...

Five panels wideThis is the largest format in our range and it exists for one reason: some walls are wider than any single canvas sensibly goes.Five panels cover considerably more wall than a single piece at the same price, and each panel is light...

Not meant to be read at a glanceNon-figurative work asks something of the viewer that a portrait does not. The animal is present in gesture and colour rather than in outline, so the piece resolves differently depending on how long you look at it.What...

It looks backA head-on portrait is the most demanding thing you can hang. The eyes meet yours from anywhere in the room, and that is either exactly what you want or precisely what you do not.The print quality is what makes or breaks this...

Geometry over furA wolf photographed head on, lip lifted and teeth showing, with a rainbow edged triangle and a set of fine circles laid across the face. The photograph stays visible underneath, so the fur and the eyes read as real while the linework...

The animal is not the subjectThe wolf is in this picture, but the mountains are what the piece is about. It is looking out at snowy peaks under grey cloud rather than out at you.That makes it the easiest painting in our range to...

Two wolves, opposedA white wolf set against a black one, rendered without colour. It is the most graphically direct composition in our range, and the whole image is carried by the confrontation between the two halves.The reading is duality: two natures held in one...

Complementary, not confrontingTwo wolves in black and white, but read as a pair rather than a standoff. The colours here are doing something different: complementary halves of one thing rather than two sides of an argument.White carries brightness and clarity, black carries depth. Neither...

Where the dreamcatcher actually comes fromThe dreamcatcher is Ojibwe, later adopted by other nations and now reproduced worldwide with very little reference to either.The traditional form is a woven web inside a hoop, hung above a sleeping place. Bad dreams are caught in the...

Four panels of forestA wolf's face and a stand of pine forest printed as one image, the trees and a mirrored lake showing through the fur in pale green and sepia. The head is centred and faces straight out, so the panel joins fall...

Two wolves inside the circleA light wolf with its eye closed and a dark one with its teeth bared, curled into the taijitu so that each occupies the space the other leaves. It is one of the cleanest pieces of design in our range...