Materials & Process
Materials & Process
Each work begins with looking.
A surface.
A reflection.
Light on water.
A small movement that almost disappears.
I photograph these moments, then work with them in the studio until the image starts to shift. The original subject becomes less important. What stays is light, color, pressure and space.
Slowly, the work finds its own presence.
From Photograph to Image
Photography is the starting point.
I collect fragments from the visible world: texture, shadow, water, weather, architecture, traces of movement. Often it begins with something simple. Something most people would pass by.
In the studio, I return to these fragments.
I layer, reduce, adjust and refine. I remove what feels too literal. I follow what has tension. Sometimes that is a line. Sometimes a field of color. Sometimes a quiet opening in the image.
The work is finished when it no longer feels like a record of something seen.
It has become a space of its own.
Digital Work
The digital process is slow.
Layers are built up and taken away. Color is balanced. Light is softened or deepened. Edges are kept, blurred or allowed to disappear.
I am not looking for effects.
I am looking for the moment when the image starts to breathe. When it feels calm from a distance, but still active up close.
That tension matters to me.
A work should hold stillness.
But it should not become flat.
Proofing
Before a work is produced, the image is prepared carefully for print.
I look at color, density, contrast and detail. A work has to feel right on screen, but more importantly, it has to hold a wall.
The image needs to work from a distance.
And then reward you when you come closer.
That is where many details are decided.
Materials
Fine Art Print
Each edition is produced as a fine art print with archival pigment inks.
This gives the work rich color, stable depth and precise detail. It is a professional print process made for long-term presentation.
The print is the base of the final object.
Everything after that is about giving the image more physical presence.
Acrylic Face-Mount
Most works are finished as an acrylic face-mount.
The fine art print is mounted behind clear acrylic. This gives the image depth, clarity and a quiet reflective surface.
Light enters the work differently this way.
Colors gain body.
Dark areas become deeper.
Small details stay sharp.
The surface feels more alive.
It gives the work a clean, contemporary presence without needing a frame.
Dibond Backing
Behind the print and acrylic is a Dibond aluminum backing.
Dibond keeps the work stable, flat and strong. It gives larger pieces the support they need, while keeping the object visually light.
The finish is precise and minimal.
It suits the work because the image can sit directly on the wall, with no visual distraction around it.
Hanging System
Each acrylic and Dibond work comes with an aluminum hanging frame on the back.
The work floats slightly from the wall. That small distance creates a soft shadow and gives the piece room to breathe.
It arrives ready to hang.
Clean.
Stable.
Quiet.
— Ed
Editions
Most Reininga works are made in limited editions.
Each work is signed, numbered and registered. When an edition is complete, it will not be produced again in that edition.
Some works are unique.
Some are available in small limited editions.
Some monumental works are produced in very limited numbers.
The edition details are shown on each artwork page.
Signature and Certificate
Every collected work comes with a Certificate of Authenticity.
The certificate includes the title, size, edition number, material, year of production and studio registration.
The work is signed according to its format and finish.
This keeps the provenance clear from the studio onward.
Size and Scale
Scale changes everything.
A smaller work can feel intimate and focused.
A larger work begins to change the room around it.
A monumental work becomes almost architectural.
For each piece, the available sizes are chosen carefully. The image has to stay balanced. It has to keep its strength.
When needed, I can help choose the right size for a wall or interior.
You can send a wall photo or dimensions, and I’ll advise what scale feels right.
Monumental Works
Some works are available in monumental formats.
At that scale, the image becomes more than a visual point on the wall. It changes the rhythm of the space. It can hold a lobby, a large living room, a boardroom or a quiet public interior.
Monumental works are prepared individually.
Size, material, placement and delivery are discussed before production begins.
Production
Works are produced to order.
This keeps the edition precise and avoids unnecessary stock. After an order is confirmed, the work is produced by a professional fine art lab.
Production time depends on size and finish. The expected timeline is shown on the artwork page.
Most works are ready within a few weeks.
Packing and Delivery
Each work is packed professionally for safe transport.
Larger works need extra care, custom packaging and careful delivery planning.
Worldwide delivery is available.
For destinations outside the European Union, import duties or local taxes may apply.
Care
Acrylic face-mounted works are strong, but they should be handled with care.
Use a clean microfiber cloth when needed. Avoid harsh cleaning products. Do not place the work in extreme humidity or long direct sunlight.
The work is made to last.
A little care keeps the surface clear and the color deep.
Made to Hold Light
The materials are chosen for a reason.
Acrylic gives depth.
Dibond gives stability.
Aluminum gives a clean suspension.
Archival pigment gives lasting color and detail.
Together, they turn the image into an object with presence.
A work should settle into a space.
Change with the light.
Stay alive over time.
Need advice for your wall?
Sent us a wall photo or dimensions, and I’ll advise what scale feels right.