Three Celtic Horses - Cast Paper
Three Celtic Horses
Original cast paper design by Kevin Dyer
This is an original design of mine in the tradition of the triskelion, a repeating three paneled circle, common in Celtic and Irish art.
The frame dimensions are 12" x 12" and 1" deep.
About Mat Options
All Mats are acid-free and this work includes the mat of your choice. See the pictures above to select your mat. Your piece will be painted to best match your mat.
About Frame Options
The frame dimensions are 12" x 12" and 1" deep.
Matted Only
Just the acid free mats - No Frame.
Black Frames are matte black anodized aluminum frames.
Three Celtic Horses
Original cast paper design by Kevin Dyer
This is an original design of mine in the tradition of the triskelion, a repeating three paneled circle, common in Celtic and Irish art.
The frame dimensions are 12" x 12" and 1" deep.
About Mat Options
All Mats are acid-free and this work includes the mat of your choice. See the pictures above to select your mat. Your piece will be painted to best match your mat.
About Frame Options
The frame dimensions are 12" x 12" and 1" deep.
Matted Only
Just the acid free mats - No Frame.
Black Frames are matte black anodized aluminum frames.
Three Celtic Horses
Original cast paper design by Kevin Dyer
This is an original design of mine in the tradition of the triskelion, a repeating three paneled circle, common in Celtic and Irish art.
The frame dimensions are 12" x 12" and 1" deep.
About Mat Options
All Mats are acid-free and this work includes the mat of your choice. See the pictures above to select your mat. Your piece will be painted to best match your mat.
About Frame Options
The frame dimensions are 12" x 12" and 1" deep.
Matted Only
Just the acid free mats - No Frame.
Black Frames are matte black anodized aluminum frames.
Paper Casting
Paper casting is to me the perfect medium. It allows me to use almost every skill set. A typical piece begins as a drawing or two. Then I sculpt it in wax. This is a long refining process and often the image sculpted is far different from the drawing. Then I build a dam around the wax and pour a rubber mold directly off the surface. A casting is made by pressing the wet cotton pulp into the mold and extracting the water. Then I finish the surface.
While every piece that emerges from the mold is about the same, no two are really painted the same. Maybe I would if I could, but the painting process is always in flux. I am always experimenting with ways of mixing colors or washes and hard edges or new pigments. I spend about 75% of my time with the painted finishes.
