Thunderbird TV by Patrick Warner
Edition: Original print, 30 copies.
Authentication: Numbered certificate signed by the artist, invoice.
Technique: Museum quality fine art print.
Colour: UltraChrome K3 pigment inks.
Media: Hahnemühle, FineArt Baryta 300g paper.
Print: Photo with white surround.
Framing: Mounted on Dibond® with recessed frame, Floater frame.
€ 553.89 – € 2059.48 inc. VAT
Method of payment: Secure card payment via our partner Stripe, Paypal, bank transfer.
Lead time prior to shipping: 7 days for a print, 15 days for a framed print.
Delivery: To your home address or a collection point. Almost anywhere worldwide.
Delivery fee: Free, small charge for certain destinations.
Durability: Colour stability, indoor UV resistance thanks to mineral pigment inks encapsulated in resin projected on a 100% Alpha cellulose backing.
Lifespan: 75 years without deterioration with normal indoor exposure. Results of tests carried out in independent laboratories.
Maintenance: Stable ambient surroundings recommended for the work. Avoid variations in temperature and humidity. Avoid direct sunlight.
Recommended humidity level: 35 to 65%.
Recommended temperature: 10 to 30°C.
Standards and certification: Acid and lignin-free. Standard ISO 9706 long life.
About the artist
Patrick Warner is a photographer and GIS analyst born in Missoula, Montana and currently residing in Florence, Montana. He received his BA from Carroll College in Psychology and Political Science in addition to a GIS & Cartography Certificate from the University of Montana. His work primarily deals with his surroundings and the landscapes of Montana. He has been featured on booooooom, Juxtapoz, Velvet Eyes, the Adventure Handbook, and Fotographia amongst others. When he isn’t working or out photographing, he is reading a book, spending time with his friends and family or sleeping.
More about Patrick Warner
How did you choose your means of expression?
I’ve always like cinema and film, so photography seemed like a natural extension of that. One of my favorite filmmakers, Stanley Kubrick started off his career as a photographer when he was a kid. I found his street photography work and decided to take the plunge into photography.
Is this medium secondary to or closely linked to your subject?
Closely linked, you can’t have the picture without the medium.
What material do you use and why?
I used a Mamiya 7 rangefinder camera, a tripod, and Kodak Portra 400 film.
How does a work session take shape?
Generally, I just set some time aside and go take pictures or it’s just spontaneous. I’ll either be something locally or I’ll pick a location in Montana and drive there.
Can you explain to me how your work has evolved since starting out?
I feel like I have an understanding of how to take a mundane scene in a picture and make it more interesting because of light. If anything has changed, it’s my understanding about how natural light works with a taking a picture.
Do your origins and culture play a role in the works that you produce?
My home state of Montana where I was born, definitely has been influential on the work. I guess my work is a reflection on my perspective on the state as I grow older.
Which events have influenced you most?
Working as an EMT on the Fort Belknap Indian reservation exposed me to a different part of the state in the east. It felt like I was on the moon compared to where I live.
What are your sources of inspiration?
A lot of things. Music, film, photography, just good art in general. But definitely a good photo book or stumbling on really good photographing is always inspiring.
Are there any anecdotes that enable the genesis of your work to be understood?
I don’t know, all those moments of frustration on the road lead me from one place to another which lead to an interesting photograph. In a big state like Montana, there’s always something there to photograph that hasn’t been photographed before.
Are current events taken into account in your production or do you distance yourself from them?
Current events in the states are pretty political at the moment and I don’t really see that in any of my work. I generally just follow my gut and go from there.
ON A MORE
Are your works more of a dialogue, a trace or a denunciation?
Maybe a dialogue in some about how people tend to view the western United States, but I like to see it as a trace or a feeling I get when I go out for a drive in Montana to take pictures. It’s not necessarily a happy or sad feeling.
How do you view human beings, and consequently your work?
Personally, I think people are complicated. Portraits can capture an aspect of a subject, but not really their nature. I haven’t taken portraits in the last few years and I intend to get back into it, but right now, they’re apart of the larger landscape.
How would you compare your last work with the next?
The next might be more painful to make, but hopefully more satisfying that the last.
Is art poetry or social intervention?
Maybe it’s all poetic justice.
How do you view your own work?
Always a work in progress
What are your current and future projects?
I’m thinking about something with the change in the environment and the political landscape here in Montana.
Do you have anything else to add? I’ll let you have the last word…
I always appreciate anyone who looks at my work. The fact that anyone spends time looking at my stuff is mind-boggling to me. So thank you.