Painter · Port Verren, ME

122 × 91 cm on the wall, not on your screen.

A painting has two dates a gallery page never shows: when it's finished, and when it's chemically allowed to leave the studio. This page shows both, computed per painting — and it shows every painting as a true-to-scale rectangle rather than a photograph. There is no photography anywhere on this site: the sizes below are drawn from the exact numbers in the ready-to-ship table, not a JPEG cropped to match its neighbours.

“A photograph of a painting is a photograph. The painting is a size, a surface, and a date it's allowed to leave.” — Teresa Ibarra

Three rooms

Walk the wall, not the grid

Each series below is a room: scroll it sideways — drag, two-finger swipe, or click inside it and use the arrow keys — to see every finished painting positioned against a fixed 170 cm figure and the 145 cm (57 in) hang-line galleries use to keep a wall reading level. Nothing here is decorative: bar width is centimetres times a fixed scale.

The oil clock

Ready to ship

Every finished painting, its completion date, its build's minimum cure, and the varnish-ready date that follows from the two. Below that date an original is PreOrder; a print of the same work is available today regardless, because a giclée on archival pigment ink is not waiting on an oil cure. The largest piece painted so far is Low Tide No. 12 at 122 × 91 cm; the smallest is Fog Study 27 at 18 × 13 cm.

What a print outlives

Pigment disclosure

Wilhelm Imaging Research testing rates a correctly produced archival pigment print on cotton rag at 100–200+ years of display life. Whether the original lasts that long depends on which pigments are in it, rated ASTM I (excellent) through IV/V (poor). Genuine Alizarin Crimson (PR83) is rated ASTM III–IV and is "completely fugitive in washes" — Winsor & Newton replaced it with a lightfast Permanent Alizarin Crimson hue (ASTM I) in 1994. Genuine Sap Green is the same story: historically "highly fugitive," which is why almost every modern tube sold as Sap Green today is actually a lightfast hue mixture, not this pigment. Teresa paints with the genuine article in both cases — the colour on this page is the same colour under discussion below.

Ground to varnish

How it's made

1. Ground Linen sized and primed, or a cradled panel gessoed and sanded, so the surface is even before the first mark.
2. Block-in A thin, lean wash of turpentine and paint establishes composition and value — nothing here is thick yet.
3. Working layers Fat-over-lean passes build form over days or weeks, thickest in the passages that will read as texture from across a room.
4. Touch-dry The surface is dry to the finger within days to about two weeks, depending on thickness. This is not cured — only dry to the touch.
5. Minimum cure The oxidative cure runs through the full paint film, not just the surface: 2 months for thin, lean layers; 6 months for standard alla-prima work; up to 2 years for thick impasto.
6. Varnish A final protective coat is applied only after the minimum cure for that painting’s build — never before, whatever a listing might say.

Available today, regardless of cure

Prints

A giclée reproduction exists the moment the file is proofed — it is never waiting on an oil cure, which is why a print of a "Ships after" original is available today.

Paper

310gsm cotton rag, acid-free, 100% cotton fibre.

Ink

11-colour archival pigment inkjet.

Display life

100–200+ years framed under glass (Wilhelm Imaging Research display-permanence rating).

8 × 10 in — $85

Archival pigment print of any painting on this page, 8 × 10 in, available immediately.

12 × 16 in — $145

Archival pigment print of any painting on this page, 12 × 16 in, available immediately.

18 × 24 in — $225

Archival pigment print of any painting on this page, 18 × 24 in, available immediately.

How a print is made

1. Digital capture The finished original is scanned or photographed under D65-balanced light and colour-matched by eye against the panel or canvas.
2. Proof One proof print is checked against the original in daylight before an edition is approved — the print is judged against the object, not a screen.
3. Archival pigment print 11-colour archival pigment inkjet on 310gsm cotton rag, acid-free, 100% cotton fibre.
4. Ship Rolled in a rigid tube for 12 × 16 in and larger; flat-packed for 8 × 10 in. Ready to frame.

Get in touch

Commission a painting, or request a print

Fastest reply is on LinkedIn; email works too. For a commission, tell Teresa the room the painting is for — that fixes the size question before it fixes the subject.

Name * Email *

What are you asking for? * Choose one Commission a new painting Print of an existing piece An available original Print size (if requesting a print) Not requesting a print 8 × 10 in — $8512 × 16 in — $14518 × 24 in — $225 Painting title, if you have one in mind Message * Wall dimensions and light direction help more than a Pinterest board. Send