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At RedKalion, you can find virtually any artwork from any artist, available in a wide range of sizes to perfectly match your space.
If you didn’t find what you’re looking for, contact us at support@redkalion.com . We will source any artwork and produce it in any size and format you need, including art prints, posters, canvas, framed pieces, framed canvas, and more.
For dedicated art enthusiasts, we also offer handcrafted replicas of any artwork, carefully painted by highly skilled artists using traditional techniques.
For custom requests, contact us at support@redkalion.com .
What material is used for this Yun Hyong-keun print?
The artwork is printed on 3mm Brushed silver Aluminum DIBOND®. This premium material features a horizontal grain and a metallic finish, providing a durable, rigid, and sophisticated base for fine art reproductions.
Is the finish of the print glossy or matte?
The print features a matte, glare-free finish. This makes the Burnt Umber & Ultramarine I reproduction ideal for rooms with high natural light, as it eliminates reflections while highlighting the metallic silver grain.
How do I hang the 70x100 cm aluminum artwork?
Every RedKalion aluminum print includes a specialized hanging kit. The specific hardware varies by fulfillment country to ensure the most secure and aesthetically pleasing installation for your specific location.
Will the colors of Burnt Umber Ultramarine I fade over time?
No. We use archival-grade direct-to-substrate printing techniques. The inks are UV-resistant and designed to maintain their depth and saturation for decades, ensuring your investment remains a museum-quality centerpiece.
What are the shipping logistics for this large-format piece?
We utilize secure, reinforced packaging specifically designed for large-format 70x100 cm prints. Each piece is tracked and insured, with fulfillment optimized to reduce transit time and carbon footprint.
What does the combination of Burnt Umber and Ultramarine represent?
Yun Hyong-keun used Burnt Umber to represent Earth and Ultramarine to represent Heaven. Their convergence symbolizes the 'gate of heaven and earth,' a central philosophical theme in his meditative practice.
Why is this 1981 piece significant in the Dansaekhwa movement?
Created during the height of the Dansaekhwa movement, this 1981 work exemplifies the 'aesthetics of presence through absence,' focusing on materiality, repetitive process, and the natural evolution of pigment on a surface.