TAPESTRY 2024 Year at a Glance on Premium Matte Paper Calendar with Hanger

Our minimalist wooden hangers are made with four magnetic wooden dowels, two that clamp to the top of your print and two that clamp to the bottom to give a vintage look and feel. The poster is made with heavier-weight white matte paper that has a natural, smooth uncoated finish that feels luxurious to the touch.

While the poster and hangers are packed separately in one box, final assembly is required. Don’t worry; it's a snap to put them together!

Features: 

• The hangers are made from pine and come in natural wood, white, black or dark wood..
• The cotton rope attached at the top matches the hanger color. 
• Designed magnetically, the hangers do not damage the poster and also makes it easy to switch prints, making it a versatile and durable option.
• The 200 gsm / 80 lb paper weight makes it durable and long-lasting.
• FSC-certified paper and hangers or equivalent certifications, depending on regional availability. It’s better for the people and the planet.
• Each poster and hanger is shipped in robust packaging, ensuring it arrives in pristine condition.
• Paper sizes may vary slightly by region. For the US and Canada, the measurement is in inches, while for the rest of the world, it is in centimeters.

ABOUT THE PAINTING PRINT ON THE CALENDAR:

TAPESTRY: Acrylic on canvas, 14 x 14 IN. In the literal sense, a tapestry is a thick textile whose images and designs are created through weaving a fabric or an embroidering on a  canvas. But, I’ve always had a romantic notion of the word like the rich tapestry of life or the fates weaving  our destinies in their loom and such… then, there’s the beautiful patterns in handmade woven objects, from baskets to platters to rugs to blankets. Each culture, each region in the world with its own signature color palette and recognizable style, it’s just a magical expression of humanity. For example, in traditional Persian crafting, tapestries and rugs are created with a deliberate flaw because only Allah is the perfect creator. How profoundly striking is that a commentary on their relationship with their god, the world around them?

All of these thoughts and ideas informed my approach to this pieces. I tried to emulate the weaving on the canvas but also give it movement. I incorporated the deliberate imperfections from the Middle East, sometimes called the Persian flaw. I made my interpretation a little more pronounced for composition purposes and a visual rhythm to counterbalance an otherwise static, formal structure. I leaned into the greens, thinking on the tapestry of life and growth and water flowing, then pulled in reds for their complimentary vibrations. I finished the piece with a high gloss sheen that I don’t normally employ but it really brought out the physical texture of each row the paint had carved and gave more depth to the parts of the painting I’d pulled away for the “flaws”. This theme of weaving is something I play with in my work often, as a focal or even incidental component. This is the first time I’ve stripped the weaving theme in a painting down to the basics, almost representational in it’s execution. There’s something about this piece that I can’t find words for but it’s somewhere around  simply satisfying.