{"title":"Coming to Auction","description":"","products":[{"product_id":"one-breath-away","title":"One Breath Away","description":"\u003cp\u003eOne Breath Away is a contemporary artwork about endurance, threshold and the fragile moment before arrival.\u003c\/p\u003e\u003cp\u003eThe figure stands in deep shadow. Behind it, only darkness. Ahead, a thin vertical line of light, close enough to almost touch. The body is exhausted. But it has not fallen. That tension is everything.\u003c\/p\u003e\u003cp\u003eNo paint. No print. No ink. The image emerges through controlled surface damage on acrylic glass. Every scratch catches light from a different angle, lifting the figure out of the darkness and then letting it settle again as the viewer moves. What was visible becomes shadow. What was shadow becomes form. The image lives in that shift.\u003c\/p\u003e\u003cp\u003eFrom across the room, the work reads as monumental. A solitary presence against an infinite dark. Up close, the surface reveals itself as a field of controlled scratches, each one carrying a fragment of the whole. The figure only exists because of the marks. It could not exist without them.\u003c\/p\u003e\u003cp\u003eThe subject runs deeper than exhaustion. This is about the moment just before. The last step. The breath held before crossing. The line of light in this work is not a reward. It is a reminder that arrival is still possible, even when the body has already given almost everything.\u003c\/p\u003e\u003cp\u003eOne Breath Away continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. A visual language where damage is not destruction, but structure.\u003c\/p\u003e\u003cp\u003e\"The light was always there. You just had to stay standing long enough to reach it.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":58745025921349,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/One_Breath_Away_thumbnail.jpg?v=1785665992"},{"product_id":"what-the-eye-commands","title":"What the Eye Commands","description":"\u003cp\u003eHe does not look at you. He commands you.\u003c\/p\u003e\u003cp\u003eFrom total darkness, a face materializes. Rembrandt light finds the legendary curl of the mustache, the hollow of an eye socket, the ridge of a cheekbone made famous by a century of spectacle. Salvador Dalí emerges the way a vision arrives, not announced, but suddenly, completely there.\u003c\/p\u003e\u003cp\u003eNo paint. No print. No ink. The image is built from absence, from depth within the surface itself. It appears and fades with light, shifts with the angle of the viewer's gaze, retreats into darkness as if choosing its own moment of revelation. Nothing has been added. Everything has been found.\u003c\/p\u003e\u003cp\u003eFrom across the room, the work is monumental and still, a single face holding the wall in silence. Move closer, and it opens into a field of depth, each shadow constructed not from application but from what lies beneath, from carefully shaped void.\u003c\/p\u003e\u003cp\u003eDalí spent a lifetime collapsing the distance between the visible and the imagined. This work returns that logic to him. His face is not painted but revealed, not placed on a surface but discovered within it, as though his gaze was always present, waiting for the light to give it form.\u003c\/p\u003e\u003cp\u003eWhat the Eye Commands continues the Art with Void series by Tijs Dragtsma, in which imagery is constructed through depth and absence rather than paint or print. A visual language where absence is not emptiness, but presence.\u003c\/p\u003e\u003cp\u003e\"He never looked. He only ever saw.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":58799391670597,"sku":null,"price":3750.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/What_the_Eye_Commands_thumbnail.jpg?v=1786140294"},{"product_id":"what-darkness-kept-soft","title":"What Darkness Kept Soft","description":"\u003cp\u003eWhat Darkness Kept Soft is a contemporary artwork about memory, vulnerability and the innocence that survives inside damage.\u003c\/p\u003e\u003cp\u003eThe figure emerges from absolute darkness. Not through light added, but through surface removed. No paint. No print. No ink. The image exists because the acrylic glass has been opened, mark by mark, until something tender becomes visible in the depth.\u003c\/p\u003e\u003cp\u003eThere is a tension in this image that is difficult to name. The shoulders carry an adult weight, a posture something lived and worn, yet the fragility reading off the form belongs to something much earlier. Something that was never fully left behind. What darkness kept soft is not weakness. It is everything that survived.\u003c\/p\u003e\u003cp\u003eThe work moves. As light shifts across the acrylic glass, the figure breathes with new depth and contrast. Seen from a distance, it reads as a single monumental form rising from absolute black. Closer, it dissolves into controlled surface damage, a field of marks that hold the image together only when the conditions are right.\u003c\/p\u003e\u003cp\u003eThat instability is the point. Memory does not stay fixed. Innocence does not announce itself. Both exist in a kind of low light, appearing only when you are still enough to let them.\u003c\/p\u003e\u003cp\u003eWhat Darkness Kept Soft continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. A visual language where damage is not destruction, but structure.\u003c\/p\u003e\u003cp\u003e\"Some things survive precisely because they were never fully seen.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":58799393079621,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/What_Darkness_Kept_Soft_thumbnail.jpg?v=1786140316"},{"product_id":"bound-to-the-loop","title":"Bound to the Loop","description":"\u003cp\u003eBound to the Loop shows a staircase that should not exist. It folds back into itself, rising and falling in the same breath, a structure that offers no beginning and no end. Somewhere within it, a lone figure climbs. The same figure descends. Both are true at once.\u003c\/p\u003e\u003cp\u003eThe image does not appear through paint or print. It is revealed through controlled scratches cut into acrylic glass, where only the edges of the steps and the outline of the figure catch the light against absolute blackness. No paint. No print. No ink. What you see exists because the surface has been altered, not built upon.\u003c\/p\u003e\u003cp\u003eAs light moves across the work, the staircase shifts between clarity and shadow. At one angle the steps vanish into darkness, at another the whole structure snaps into focus, as if the loop itself is breathing. From a distance the piece reads as a single monumental gesture. Up close, it dissolves into a quiet field of controlled surface damage, countless individual marks working together to hold one impossible shape.\u003c\/p\u003e\u003cp\u003eThe staircase is a familiar symbol of effort and progress, yet here it grants neither. The figure moves constantly and arrives nowhere, caught in a loop that asks nothing of destination and everything of motion. It is a quiet study of persistence without resolution, of being bound to a process rather than a result.\u003c\/p\u003e\u003cp\u003eThis work continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. A visual language where damage is not destruction, but structure.\u003c\/p\u003e\u003cp\u003eMore about the artist, the process and the materials can be found on the About page. For questions about this work, its availability, or shipping, please use the form below.\u003c\/p\u003e\u003cp\u003e\"Some steps lead nowhere, and still, we keep climbing.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":58971471348037,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/Bound_to_the_Loop_thumbnail.jpg?v=1787519431"},{"product_id":"rocking-without-a-rider","title":"Rocking Without a Rider","description":"\u003cp\u003eThe chair rocks on, and there is no one there to rock it.\u003c\/p\u003e\u003cp\u003eOn a porch swallowed in darkness, a single chair holds its motion, caught between one sway and the next. The floorboards beneath it have been worn pale by years of feet and weather that are no longer present, and a single hard light falls from above, cutting the whole scene out of a deep, pure black. It is a portrait of absence built from stillness, or its opposite, movement with nobody left to claim it.\u003c\/p\u003e\u003cp\u003eNo paint. No print. No ink. The chair, the pale grain of the boards, the fall of shadow into that surrounding dark, all of it is scratched into the surface of the acrylic glass, drawn out through controlled surface damage rather than applied onto it. The image exists because material was taken away, not laid down.\u003c\/p\u003e\u003cp\u003eThe image is always present, even in a dim room. Under direct light the controlled scratches catch and hold it, the contrast deepens, and the fine grain and floating dust seem to hang a little longer in the air. Light does not create the image here. It sharpens it, and the piece reads differently from every angle without ever losing what it shows.\u003c\/p\u003e\u003cp\u003eSeen from across a room, it settles into something monumental and quiet, one object holding an entire porch in silence and negative space. Move closer and that certainty dissolves into a field of fine controlled scratches, resolving back into the whole only once you step away again. Between those two distances sits the real subject of the work, what remains of someone once they are gone.\u003c\/p\u003e\u003cp\u003eRocking Without a Rider continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. A visual language where damage is not destruction, but structure.\u003c\/p\u003e\u003cp\u003e\"Some things keep moving long after we let go of them.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59161505792325,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/Rocking_Without_a_Rider_thumbnail.jpg?v=1788738788"},{"product_id":"her-veil-outruns-the-night","title":"Her Veil Outruns the Night","description":"\u003cp\u003eIn the black shallows, a woman rides a great white bull toward the edge of the night. Her veil lifts behind her, caught by a wind that seems to come from nowhere and everywhere at once. A single hard light falls from above, cutting the scene out of a background of pure, unbroken black. Everything else has been stripped away so that only this moment remains, flight, defiance, and grace held in the same breath.\u003c\/p\u003e\u003cp\u003eThe image carries an old story inside it, one of a woman carried off by a beast that is not entirely a beast, and who somehow leads rather than follows. Her veil trails behind her like a measure of time she is outrunning. She does not look back. In Her Veil Outruns the Night, the darkness is not a threat closing in, it is the distance she is already leaving behind.\u003c\/p\u003e\u003cp\u003eNo paint. No print. No ink. This image exists because of what was taken away, not what was added. Every line of the bull's shoulder, every fold of the veil, every grain of dust suspended in that hard beam of light, is built from controlled scratches worked into the surface of acrylic glass. The picture is not applied onto the surface, it is drawn out of it, scratch by scratch, until a woman on a white bull steps forward from black glass.\u003c\/p\u003e\u003cp\u003eThe image is always there, in full daylight as much as in shadow. Light does not create it. It sharpens it. Under direct light the scratches catch and hold that light, the contrast deepens, and the white bull seems to gather more of the glow than the dark around it. Move around the piece and it reads differently from every angle, without ever losing the woman, the bull, or the veil at its center.\u003c\/p\u003e\u003cp\u003eFrom across a room the work reads as a single, monumental gesture, cinematic and old master in its weight. Step closer and that gesture dissolves into a field of individual scratches, each one small and deliberate, none of them alone telling the story that all of them tell together.\u003c\/p\u003e\u003cp\u003eHer Veil Outruns the Night continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. A visual language where damage is not destruction, but structure.\u003c\/p\u003e\u003cp\u003e\"She is not fleeing the dark. She is outrunning it.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580268839237,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/Her_Veil_Outruns_the_Night_thumbnail.jpg?v=1791175367"},{"product_id":"silver-skin-of-stardust","title":"Silver Skin of Stardust","description":"\u003cp\u003eThere is a face that changed music by becoming something other than a face, a mask so complete it turned into a mirror. Silver Skin of Stardust meets David Bowie at that exact threshold, the moment reinvention stopped being a costume and became an image the world could not stop looking at.\u003c\/p\u003e\u003cp\u003eHe emerges from an absolute black, sculptural cheekbones catching a light that feels otherworldly, the geometry of his features suggested rather than drawn. There is no color to distract, only black and a luminous silver, with the faintest trace of tension running beneath the surface like a current that never quite breaks.\u003c\/p\u003e\u003cp\u003eNo paint. No print. No ink. The image is scratched into the surface of the acrylic glass, built through controlled surface damage rather than pigment, so that what looks like light was in fact taken away, not laid down.\u003c\/p\u003e\u003cp\u003eThe image is always present, visible without a single spotlight aimed at it. Light does not create it, it sharpens it. Under direct light the scratches catch and hold the glow, the contrast deepens, and the portrait reads differently as you move past it, without ever losing its shape.\u003c\/p\u003e\u003cp\u003eUp close, Bowie's face dissolves into a field of fine scratches, a texture where no single mark matters on its own. Step back and he returns fully formed, monumental, distant, glamorous and strangely alien again, exactly as he wanted to be seen. It feels fitting that a face built on constant reinvention should be rendered through a surface that keeps shifting under the eye.\u003c\/p\u003e\u003cp\u003eSilver Skin of Stardust continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. A visual language where damage is not destruction, but structure.\u003c\/p\u003e\u003cp\u003e\"He was never quite of this world, and neither is this.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580268872005,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/Silver_Skin_of_Stardust_thumbnail.jpg?v=1791175372"},{"product_id":"steel-beneath-the-skin","title":"Steel Beneath the Skin","description":"\u003cp\u003eA figure steps out of pure black, leather jacket catching a hard, cold light, sunglasses turning the eyes into flat, unreadable mirrors. Nothing moves. Nothing needs to. This is stillness as threat, calm as inevitability.\u003c\/p\u003e\u003cp\u003eThe face gives nothing away. That is the point. Beneath the leather and the skin there is something else, something that does not tire, does not doubt, does not stop. The image does not show it directly. It suggests it, the way a shadow suggests a shape.\u003c\/p\u003e\u003cp\u003eNo paint. No print. No ink. This portrait is built through controlled scratches worked into acrylic glass, the surface opened rather than covered, the figure formed by what has been taken away rather than what has been added. There is a quiet symmetry in that, a story about steel hidden beneath skin, told through a surface where the image is not laid on top, but cut into what is already there.\u003c\/p\u003e\u003cp\u003eThe work is always present, with or without direct light. Light does not create the image. It sharpens it. Under a raking light, the scratches catch and the contrast deepens, the jacket and the glasses gaining a metallic edge. It reads differently from different angles, without ever losing the image, the same way this figure never loses its stillness.\u003c\/p\u003e\u003cp\u003eFrom across a room the portrait reads as monumental, a single dark, upright presence against an expanse of black. Close up, that presence resolves into a field of controlled surface damage, individual marks that only settle into a face, a jacket, a pair of glasses, at the right distance. Closeness reveals the marks. Distance reveals the myth.\u003c\/p\u003e\u003cp\u003eSteel Beneath the Skin continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. A visual language where damage is not destruction, but structure.\u003c\/p\u003e\u003cp\u003e\"Some things are not damaged. They are built that way.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580268904773,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/Steel_Beneath_the_Skin_thumbnail.jpg?v=1791175377"},{"product_id":"a-fold-set-adrift","title":"A Fold Set Adrift","description":"\u003cp\u003eA figure with a head shaped like the moon stands waist deep in a sea that does not move. In one hand it holds a small paper boat, lifted just above the waterline, as if the smallest gesture might still carry it somewhere. Behind the figure the horizon opens into nothing, an emptiness so complete it becomes a presence of its own. A Fold Set Adrift holds that single, suspended moment inside deep blue coloured mirror glass.\u003c\/p\u003e\u003cp\u003eNothing here is painted or printed. The image is scratched into the surface itself, formed by what has been taken away rather than added. Blue was chosen for what it already carries, the colour of night water, of distance, of a tide that never quite reaches shore, and it becomes part of the story the work tells rather than a backdrop to it.\u003c\/p\u003e\u003cp\u003eThe image is always there, in daylight and in shadow alike. What changes is what happens around it. Under a cinematic side light the long shadows deepen, the water seems to hold its breath a little longer, and the contrast in the scratches sharpens into something close to a photograph carved from glass. Light does not create the image. It sharpens it.\u003c\/p\u003e\u003cp\u003eBecause the surface is coloured mirror glass, the room enters the piece. Your own reflection settles into that same still black plane, standing beside the moon headed figure at the edge of its silence. The wall behind you, the light in your own space, becomes part of the sea, and for a moment you are folded into the work rather than simply looking at it.\u003c\/p\u003e\u003cp\u003eSeen from across a room, the scene reads whole, a lone figure, a small paper boat, an impossible horizon. Move closer and that clarity dissolves into a field of controlled scratches, resolving back into a picture only once you step away again. Between those two distances sits the quiet tension the piece is built on, something monumental made from something fragile.\u003c\/p\u003e\u003cp\u003eA paper boat is not built to survive open water, and a face made of moon cannot speak. Held together they suggest a kind of departure that asks nothing of the sea in return, no promise of arrival, only the will to still set something adrift. It is a work about what we release, and what we quietly hope carries on without us.\u003c\/p\u003e\u003cp\u003eA Fold Set Adrift continues the Art on Mirror series by Tijs Dragtsma, in which scratched imagery is set into coloured mirror glass and the viewer becomes part of the work. A visual language where damage is not destruction, but structure, and where the mirror turns looking into taking part.\u003c\/p\u003e\u003cp\u003e\"A small boat, an unmoving sea, and the whole weight of letting go.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580269723973,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/A_Fold_Set_Adrift_thumbnail.jpg?v=1791175382"},{"product_id":"an-inverted-hush","title":"An Inverted Hush","description":"\u003cp\u003eAn Inverted Hush holds a sloth mid-suspension, hanging by four small claws from a branch that offers no more solid ground than the dark surrounding it. There is no floor, no sky, only a body turned upside down and kept there by a stillness so complete it reads as devotion.\u003c\/p\u003e\u003cp\u003eIts fur is unlit, folded into black, touched by algae the way years fold into a life that has stopped rushing. A narrow halo of light clings to the outline of the animal and fades out within a hand's width, offering the sloth to the eye before returning it, almost at once, to the black it came from. Only the claws stay bright, two fine lines holding the whole creature to its branch.\u003c\/p\u003e\u003cp\u003eThis work is scratched into deep green coloured mirror glass, a green close to the algae the sloth wears, so the material and the animal share a single quiet colour. The image is not applied onto the surface, it is opened directly into it, through controlled surface damage, a shape made by taking away rather than laying down.\u003c\/p\u003e\u003cp\u003eThe scratches stay visible in every room, at every hour. Light does not summon this sloth from hiding, and it does not make the animal vanish when it turns away. It only sharpens what is already there, the claws catching brighter, the halo gaining depth, the black growing more absolute. What changes with the room is the reflection around the sloth, never the sloth itself.\u003c\/p\u003e\u003cp\u003eBecause the surface is coloured mirror glass, the room enters the piece with you. Around the scratched outline, in the black between the lines, your own shape settles into the glass, so that looking at a sloth suspended in its private stillness quietly becomes a way of joining it there.\u003c\/p\u003e\u003cp\u003eFrom across a room the work reads as one hushed, dark gesture. Up close it resolves into a field of fine, deliberate scratches, each one a small decision that only becomes a sloth once you step back and let your eye finish the work.\u003c\/p\u003e\u003cp\u003eAn Inverted Hush continues the Art on Mirror series by Tijs Dragtsma, in which scratched imagery is set into coloured mirror glass and the viewer becomes part of the work. A visual language where damage is not destruction, but structure, and where the mirror turns looking into taking part.\u003c\/p\u003e\u003cp\u003e\"Stillness held upside down, until even the light agrees to slow down.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580269756741,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/An_Inverted_Hush_thumbnail.jpg?v=1791175387"},{"product_id":"a-fist-of-quiet-embers","title":"A Fist of Quiet Embers","description":"\u003cp\u003eA heavy bunch of grapes hangs free on the vine, full and weighted, yet not one grape here catches ordinary light. The fruit sits unlit, black, folded in on itself inside a deep black void where nothing else is allowed to exist.\u003c\/p\u003e\u003cp\u003eBehind the bunch a pale glow gathers, then gives way to black again long before it reaches the edge of the frame. Only along the topmost grapes does a pair of thin bright lines survive, the last visible seam of something otherwise banked down to char. This is A Fist of Quiet Embers, a clenched hand of fruit holding its own warmth rather than letting it go.\u003c\/p\u003e\u003cp\u003eNothing here is painted or printed. The image is scratched into the surface of deep red coloured mirror glass, built through controlled surface damage rather than anything added. From across the room the grapes read as one dense, monumental form. Come closer and that form opens into a field of controlled scratches, each one a small decision, together carrying all the weight and shadow.\u003c\/p\u003e\u003cp\u003eRed carries as much of the meaning here as the drawing does, the colour of banked heat, of fruit before it becomes wine, of a glow kept low and private instead of let loose. It does not decorate the image, it is the ember the fist is holding.\u003c\/p\u003e\u003cp\u003eThe scratches are always there, in daylight, in shadow, at any hour. Light does not create the image. It sharpens it. Under a directed light the surface catches, the contrast deepens, and that pair of bright lines along the topmost grapes flares a little brighter. Away from that light the grapes are still entirely visible, unchanged in shape and weight. What shifts is only the reflection around them, never the fruit itself.\u003c\/p\u003e\u003cp\u003eThat reflection is the room, and it is you. Around and between the scratches, the coloured mirror glass keeps doing what mirrors do, holding whoever stands in front of it, so the black void is never quite empty. A Fist of Quiet Embers continues the Art on Mirror series by Tijs Dragtsma, in which scratched imagery is set into coloured mirror glass and the viewer becomes part of the work.\u003c\/p\u003e\u003cp\u003eA visual language where damage is not destruction, but structure, and where the mirror turns looking into taking part.\u003c\/p\u003e\u003cp\u003e\"A quiet fire, held instead of shown.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580269789509,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/A_Fist_of_Quiet_Embers_thumbnail.jpg?v=1791175392"},{"product_id":"a-face-sharpened-by-alert","title":"A Face Sharpened by Alert","description":"\u003cp\u003eA Face Sharpened by Alert holds a single instant: an owl's face turning fully forward, eyes opening wide, the ruff lifting at the edges as calm sharpens into alarm. Nothing is added to hold that instant in place. The heart shaped face gathers out of the dark as a field of individual marks, dense where light once caught the feathers, thinning toward the edges until it gives way entirely to black.\u003c\/p\u003e\u003cp\u003eNo paint. No print. No ink. The image exists only as depth, a controlled absence in the surface that the eye reads as light. What looks like glow is really a void, and what looks like shadow is simply the surface left untouched.\u003c\/p\u003e\u003cp\u003eThe work changes with where you stand. From across a room it settles into something monumental and quiet, a pale shape suspended in black, watching without moving. Come closer and that calm resolves into a field of depth, every mark a small decision about where light is allowed to fall.\u003c\/p\u003e\u003cp\u003eThere is a symbolic weight to this particular face. The barn owl is a creature of dusk and threshold, built almost entirely around looking and listening, and prized for a stillness that can turn to alarm without warning. Rendered through depth and absence, that same instinct becomes both the subject of the work and the way it was made to be seen.\u003c\/p\u003e\u003cp\u003eThe eyes remain the darkest voids in the piece, two shapes the light barely reaches, and everything else in the face seems to lead the gaze there. It is the one place the surface gives nothing back, and the one place the whole image turns around.\u003c\/p\u003e\u003cp\u003eA Face Sharpened by Alert continues the Art with Void series by Tijs Dragtsma, in which imagery is constructed through depth and absence rather than paint or print. A visual language where absence is not emptiness, but presence.\u003c\/p\u003e\u003cp\u003e\"Stillness, caught the moment before it breaks.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580269822277,"sku":null,"price":3750.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/A_Face_Sharpened_by_Alert_thumbnail.jpg?v=1791175398"},{"product_id":"a-crown-of-white-fire","title":"A Crown of White Fire","description":"\u003cp\u003eThe crest rises from silence, feather by feather, until it reaches the very edge of the frame. A white cockatoo turns in profile, calm and unhurried, its crown opening like something between a flame and a halo.\u003c\/p\u003e\u003cp\u003eNothing here was added. The image is built from depth and absence, surfaces held back and surfaces let through, so that light does the work paint or print never could.\u003c\/p\u003e\u003cp\u003eStand close and the bird dissolves into a field of fine structure, a quiet architecture of feather and shadow. Step back and it gathers itself into one still, monumental gesture, visible only when the light finds it.\u003c\/p\u003e\u003cp\u003eA crest fanned this wide is a language older than words, a signal of alertness, of display, of something fierce held in reserve. Here it reads instead as a kind of quiet defiance, a crown worn without weight, fire without heat.\u003c\/p\u003e\u003cp\u003eThe piece changes with the hour, with the angle of a lamp, with where you choose to stand. It asks to be lived with rather than looked at once.\u003c\/p\u003e\u003cp\u003eThis work continues the Art with Void series by Tijs Dragtsma, in which imagery is constructed through depth and absence rather than paint or print. A visual language where absence is not emptiness, but presence.\u003c\/p\u003e\u003cp\u003e\"A crown built from nothing but light, and the patience to let it appear.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580269920581,"sku":null,"price":3750.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/A_Crown_of_White_Fire_thumbnail.jpg?v=1791175403"},{"product_id":"the-sky-within-the-gaze","title":"The Sky Within the Gaze","description":"\u003cp\u003eThe eye fills the frame entirely, so close that it becomes the world it looks upon. There is no face left to soften it, only the wide arc of the lid, the dark fringe of lashes, and at its center a sky.\u003c\/p\u003e\u003cp\u003eThe iris opens like weather held still. Something drifts through it, faint and unhurried, the way clouds move across a bright afternoon that no one is watching. At its center sits the pupil, a black moon, absolute and unlit, the one place the sky refuses to answer.\u003c\/p\u003e\u003cp\u003eA gaze is usually the smallest thing we notice about a person, and the vastest thing we forget it holds. Here that reversal is made literal. The eye becomes a window turned outward instead of in, and what looks back is not a person but a sky, borrowed for a moment and given a shape to live in.\u003c\/p\u003e\u003cp\u003eAs in every work in this series, nothing here was added. The image is not painted, not printed, not inked onto the surface. It is built from depth and from what has been withheld, a controlled absence that only becomes visible when light finds it.\u003c\/p\u003e\u003cp\u003eFrom across a room it holds still and monumental, a single dark form watching quietly. Move closer, change the angle, let the light shift, and the sky inside the eye stirs, the moon at its center steadies, then the whole gaze recedes into shadow again, as if it had only agreed to be seen for a moment.\u003c\/p\u003e\u003cp\u003eThe Sky Within the Gaze continues the Art with Void series by Tijs Dragtsma, in which imagery is constructed through depth and absence rather than paint or print. A visual language where absence is not emptiness, but presence.\u003c\/p\u003e\u003cp\u003eThis work is unique.\u003c\/p\u003e\u003cp\u003e\"Look long enough into any eye, and you find weather.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580269953349,"sku":null,"price":3750.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/The_Sky_Within_the_Gaze_thumbnail.jpg?v=1791175409"},{"product_id":"montana-in-half-light","title":"Montana in Half Light","description":"\u003cp\u003eOut of near total black, a face arrives half by memory, half by will. Montana in Half Light finds its subject in fragments, the jaw set, the eyes lowered and unblinking, the collar open as though the suit itself cannot contain what lives beneath it. This is not a portrait of a man so much as of a myth people carry with them, the underworld figure who built an empire on nerve and lost everything to it.\u003c\/p\u003e\u003cp\u003eNo paint. No print. No ink. Every plane of light on that face, from the damp shine of hair to the soft crease along the cheek, is scratched into the surface of a single sheet of acrylic glass. The image is built by what has been taken away, not what has been added, a portrait carved from controlled surface damage until darkness itself became a kind of skin.\u003c\/p\u003e\u003cp\u003eThe image is always present. It does not wait for a lamp to switch on or a viewer to walk past. Light does not create it, it sharpens it. Under a raking light the scratches catch and hold, the contrast deepens, and the face seems to lean forward out of the black. Seen from another angle, it settles into quiet, but it never disappears.\u003c\/p\u003e\u003cp\u003eThere is something fitting in rendering Tony Montana this way. He is remembered for reinvention through violence, for wanting more until more consumed him. Here his face is remade again, not through paint but through controlled scratches that behave less like decoration and more like scar tissue. Power, in this piece, looks like something that had to be earned by force and paid for at cost.\u003c\/p\u003e\u003cp\u003eSeen from across a room, the work reads as pure cinema, a single monumental face suspended in darkness. Move closer and that certainty dissolves into a dense field of controlled scratches, none of them shouting, all of them necessary. The distance between those two readings, icon and evidence, is where the piece does its real work.\u003c\/p\u003e\u003cp\u003eMontana in Half Light continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. A visual language where damage is not destruction, but structure.\u003c\/p\u003e\u003cp\u003e\"Even in the dark, some faces refuse to disappear.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580269986117,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/Montana_in_Half_Light_thumbnail.jpg?v=1791175414"},{"product_id":"a-thorn-holds-its-fire","title":"A Thorn Holds Its Fire","description":"\u003cp\u003eA single rose stands alone in the frame, drawn not with pigment but with a field of individual marks cut into deep red coloured mirror glass. Nothing surrounds it: no stem of context, no room to place it in, only the flower and the void it grows from. The bloom, the stem, the two leaves and the thorns that guard them all emerge the same way, as fine lines that hold the light against a colour that will not let you forget what a rose is made of.\u003c\/p\u003e\u003cp\u003eRed is not decoration here, it is the flower's own blood, its heat, the colour underneath every love letter and every warning a thorn ever gave. The rose keeps its bloom, its curled outer petals traced in one bright, unbroken line, but it lets go of softness. There is no photographic detail left to hide behind, only the shape the eye already knows by heart.\u003c\/p\u003e\u003cp\u003eNo paint. No print. No ink. The image is scratched into the surface of the coloured mirror glass, a field of fine scratches that hold their place whether or not any light falls on them directly. Light does not create this rose. It sharpens it, deepens the contrast along the petal's edge, and lets the thorns along the stem stand a little sharper in the glass.\u003c\/p\u003e\u003cp\u003eStep back and the flower reads as one whole gesture, upright and quiet, monumental in its restraint. Step closer and it dissolves into the controlled surface damage that built it, a field of individual marks with no single mark asking to be noticed on its own. Between those two distances is where the work actually lives.\u003c\/p\u003e\u003cp\u003eThe mirror glass never lets the viewer stand outside the image. The room, its light, whoever is standing in front of the rose, all of it is folded into the red surface around and between the scratches, so looking at the flower means finding yourself inside it too. The reflection shifts with the room, the rose itself does not.\u003c\/p\u003e\u003cp\u003eA thorn is proof that something worth holding usually costs something to hold. This work continues the Art on Mirror series by Tijs Dragtsma, in which scratched imagery is set into coloured mirror glass and the viewer becomes part of the work.\u003c\/p\u003e\u003cp\u003e\"Even alone in the dark, a rose keeps its fire.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580270018885,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/A_Thorn_Holds_Its_Fire_thumbnail.jpg?v=1791175419"},{"product_id":"a-bucket-overflows-with-fire","title":"A Bucket Overflows With Fire","description":"\u003cp\u003eA Bucket Overflows With Fire opens on the most ordinary object in a cinema, the striped bucket that arrives before the film even starts, and turns it into a beam of pure event. The lines catch a single overhead light, so the popcorn spills upward like something closer to flame than snack, more eruption than treat.\u003c\/p\u003e\u003cp\u003eScratched into deep red coloured mirror glass, the piece finds its subject twice, once in the story of anticipation, that moment before the lights go down, and once in the colour itself, red being the shade of curtains, of appetite, of the first frame before anything has happened yet. The bucket becomes a small monument to expectation.\u003c\/p\u003e\u003cp\u003eNo paint, no print. The image exists because the surface has been taken away rather than added to, a field of individual marks that gathers into stripes, foam and shadow only when the eye steps back far enough to let them settle. Up close, that same passage opens into a field of fine scratches, controlled surface damage that keeps its own reasons.\u003c\/p\u003e\u003cp\u003eThe image is always present, with or without a spotlight aimed at it. Light does not create it, it sharpens it, under direct light the marks catch and the contrast deepens, the bucket seeming to lift further off the black. Move around the room and the reflection changes, never the picture.\u003c\/p\u003e\u003cp\u003eThat reflection is where the mirror does its other work. Around the bucket and through the gaps between its scratched stripes, the room and whoever is standing in it are folded into the red, so the theatre being staged is not only on the glass. The viewer is caught mid frame, part of the show rather than watching it from outside.\u003c\/p\u003e\u003cp\u003eA Bucket Overflows With Fire continues the Art on Mirror series by Tijs Dragtsma, in which scratched imagery is set into coloured mirror glass and the viewer becomes part of the work. A visual language where damage is not destruction, but structure, and where the mirror turns looking into taking part.\u003c\/p\u003e\u003cp\u003e\"Even the smallest ritual can catch fire, if the light finds it.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580270051653,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/A_Bucket_Overflows_With_Fire_thumbnail.jpg?v=1791175424"},{"product_id":"a-rocket-held-in-blue","title":"A Rocket Held in Blue","description":"\u003cp\u003eA Rocket Held in Blue continues the Art on Mirror series by Tijs Dragtsma, in which scratched imagery is set into coloured mirror glass and the viewer becomes part of the work. Here the surface is a deep blue, mirrored acrylic glass, and into it a single rocket is formed, not painted, not printed, but shaped through controlled surface damage that lets light itself draw the outline.\u003c\/p\u003e\u003cp\u003eThe rocket stands upright, its nose cone pointed toward whatever lies beyond the frame, tail fins braced as if the whole object is caught in the instant before departure. A field of individual marks traces its contours and gathers into coarse dots along the lit side, while the body itself is left in solid blue, untouched and dark, so the object reads as much through what is withheld as through what is shown.\u003c\/p\u003e\u003cp\u003eFrom across the room the rocket is monumental, a single vertical gesture climbing out of near total darkness, a beam of light and a trail of exhaust held only as scratched brightness against the endless blue field. Move closer and that clean silhouette breaks into a field of fine scratches, each one a small, deliberate mark in the glass, each one holding its own thin note of reflected light.\u003c\/p\u003e\u003cp\u003eBlue is not incidental here. It is the colour of distance, of sky and altitude and the cold quiet beyond the atmosphere, and it wraps the rocket the way distance wraps every act of leaving. The image is always present in the surface, with or without direct light. Light does not create it, it sharpens it, and the contrast deepens as the room shifts around it.\u003c\/p\u003e\u003cp\u003eBecause this is coloured mirror glass, the room and the person standing in front of it are folded into the same surface as the rocket, held in the same blue field. The viewer's own reflection settles somewhere between the fins and the flame, a quiet reminder that watching something ascend is itself a kind of participation.\u003c\/p\u003e\u003cp\u003eThis work is unique. A visual language where damage is not destruction, but structure, and where the mirror turns looking into taking part.\u003c\/p\u003e\u003cp\u003e\"Some things are only ever seen for a moment before they are gone, and this one chooses to stay.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580270084421,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/A_Rocket_Held_in_Blue_thumbnail.jpg?v=1791175428"},{"product_id":"a-mask-kept-from-breath","title":"A Mask Kept From Breath","description":"\u003cp\u003eA hand rises from the dark and closes over a diver's mask, the way a mask closes over a breath before it is held back. Nothing behind the glass looks out. Where a face and a reflection should sit, the surface stays shut, and the whole gesture becomes about withholding rather than seeing.\u003c\/p\u003e\u003cp\u003eThe work keeps only what carries that gesture: the shape of the fingers, the curve of the mask, the printed pattern at the wrists, all drawn as a field of fine scratches. Everything else, skin tone, expression, the room behind the hand, is let go into the deep blue that fills the rest of the piece.\u003c\/p\u003e\u003cp\u003eBlue carries the meaning here. It is the colour of held breath and closed water, of a distance kept between the world and whatever is being protected underneath that mask. It cools the image, the way a mask cools a face it seals off from air.\u003c\/p\u003e\u003cp\u003eNo paint. No print. No ink. The image is formed by controlled scratches set into the surface of deep blue coloured mirror glass, not applied onto it. The marks are always present, in daylight as in darkness. Light does not create the image, it sharpens it, deepening the contrast where the scratches catch and shine.\u003c\/p\u003e\u003cp\u003eAround the hand and the mask, the coloured mirror glass keeps doing its other job: it reflects the room, and with it, the person standing in front of the work. Study the mask too long and your own face starts to gather in that same blue field, close to where the mask's would be, so that looking at the piece becomes a small trade of one held breath for another.\u003c\/p\u003e\u003cp\u003eThis work continues the Art on Mirror series by Tijs Dragtsma, in which scratched imagery is set into coloured mirror glass and the viewer becomes part of the work. A visual language where damage is not destruction, but structure, and where the mirror turns looking into taking part.\u003c\/p\u003e\u003cp\u003e\"A mask kept from breath, and a face kept from the mirror.\"\u003c\/p\u003e\u003cp\u003egezien: In the finished work a raised hand presses a rounded, goggle eyed mask against a dark blue mirrored surface, its round lenses, ribbed filter and patterned cuffs traced in fine glowing white lines. Everything outside those scratched contours, including where a face or reflection would sit behind the mask's black lenses, stays deep untouched blue.\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580270117189,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/A_Mask_Kept_From_Breath_thumbnail.jpg?v=1791175433"},{"product_id":"a-ring-scratched-from-void","title":"A Ring Scratched From Void","description":"\u003cp\u003eA Ring Scratched From Void takes the last instant before totality and holds it still. The sun itself is gone, swallowed by the black disc at the centre, and what remains is only its edge, a corona thrown into the dark like a crown with nothing left to crown.\u003c\/p\u003e\u003cp\u003eNo paint. No print. No ink. The image is not placed onto the acrylic glass, it is taken from it. A field of individual marks opens across the surface exactly where the corona would blaze, catching and scattering light, while the disc at the centre is left closed, dark, entirely untouched.\u003c\/p\u003e\u003cp\u003eAn eclipse has always carried more than astronomy. It is the moment the source of all seeing is blotted out, and the world keeps its shape only through the light bent around that blackness. Scratched into acrylic glass, that idea becomes physical, the image existing because something was taken away rather than added, the void made visible by the damage that surrounds it.\u003c\/p\u003e\u003cp\u003eThe ring is always present, in daylight or dim room alike. Direct light draws the corona forward and the contrast deepens along the surface, but the image never switches on or off with the light. Light does not create the image. It sharpens it.\u003c\/p\u003e\u003cp\u003eFrom across a room the work settles into one monumental gesture, a black circle wearing a crown of light against endless dark. Up close that crown breaks apart into a field of fine scratches, each one holding its own sliver of brightness, restless where the whole reads as still.\u003c\/p\u003e\u003cp\u003eA Ring Scratched From Void continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. A visual language where damage is not destruction, but structure.\u003c\/p\u003e\u003cp\u003e\"What is missing becomes the light.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580270149957,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/A_Ring_Scratched_From_Void_thumbnail.jpg?v=1791175437"},{"product_id":"a-face-kept-in-light","title":"A Face Kept in Light","description":"\u003cp\u003eA Face Kept in Light begins where most portraits end, in the dark. Out of an unbroken black field, only part of a tiger's face is allowed to surface, an eye, the set of an ear, the architecture of stripes across the brow, a breath of whiskers catching the light. The other half stays where it began, folded back into the black, as if the animal had only agreed to be seen halfway.\u003c\/p\u003e\u003cp\u003eNothing here is painted or printed. The image is scratched into the surface of the acrylic glass, built by controlled surface damage rather than pigment, a field of individual marks that the eye reassembles into fur, muscle and gaze. What looks like brushwork up close is, at true distance, structure: damage organised into a face.\u003c\/p\u003e\u003cp\u003eThe tiger has always carried this double nature, patience and violence held in the same body, camouflage and unmistakable presence in the same coat. Here that duality becomes the whole composition. Stripes that should mark the animal instead mark the boundary between visible and hidden, so the work becomes as much about what stays unseen as about what is shown.\u003c\/p\u003e\u003cp\u003eLight does not create this image. It sharpens it. The scratches hold their form in ambient light and only deepen under a direct source, the contrast tightening, the fur seeming to breathe. Viewed from across a room the face reads as a single monumental gesture, low and watchful in the dark. Close up, it dissolves into the countless small acts of removal that formed it.\u003c\/p\u003e\u003cp\u003eIt reads differently from every angle without ever losing the tiger underneath, the way an animal in low light shifts between shadow and recognition depending on how long you look. That instability is deliberate, a portrait that refuses to fully declare itself, closer to a memory of a tiger than a photograph of one.\u003c\/p\u003e\u003cp\u003eA Face Kept in Light continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. This work is unique.\u003c\/p\u003e\u003cp\u003e\"Half of the face is enough, if the dark holds the rest.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580270182725,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/A_Face_Kept_in_Light_thumbnail.jpg?v=1791175442"},{"product_id":"a-crest-scratched-from-starlight","title":"A Crest Scratched From Starlight","description":"\u003cp\u003eA Crest Scratched From Starlight begins where the surface has been taken away rather than added to. No paint. No print. No ink. Out of a field of deep black acrylic glass, the crown of an eagle rises as a gathering of fine, individual marks, each one catching the light and holding it like frost on a dark window.\u003c\/p\u003e\u003cp\u003eThe head turns in profile, feathers lifting into a soft crest before falling toward a beak drawn in the same trembling white. Around it, the eye stays almost untouched, a small dark pool set into the brightness, watching from stillness while everything nearby seems to move. That single quiet point is where the whole work holds its breath.\u003c\/p\u003e\u003cp\u003eBelow the crown, the body dissolves into the surrounding black, a silhouette the eye completes more than it actually sees. What is left unscratched carries as much weight as what is marked, so the bird seems to be arriving out of the dark rather than posed against it.\u003c\/p\u003e\u003cp\u003eAn eagle has always stood for vigilance, height, and a kind of clear sighted authority, the creature that watches from above while others move below. Built from controlled scratches rather than pigment, that watchfulness feels earned here, as if the image itself had to survive being taken apart before it could be seen.\u003c\/p\u003e\u003cp\u003eThe image is always present in the acrylic glass, in daylight as much as under a focused lamp. Light does not create it. It sharpens it, deepening the contrast and letting the crest catch and hold a passing gleam as you move past. Seen up close, the head breaks into a field of fine scratches and grain. Step back, and it gathers itself into one calm, watching presence.\u003c\/p\u003e\u003cp\u003eA Crest Scratched From Starlight continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. This work is unique.\u003c\/p\u003e\u003cp\u003e\"A visual language where damage is not destruction, but structure.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580272574789,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/A_Crest_Scratched_From_Starlight_thumbnail.jpg?v=1791175448"},{"product_id":"a-heart-between-two-faces","title":"A Heart Between Two Faces","description":"\u003cp\u003eA Heart Between Two Faces holds a single embrace at the moment it becomes something larger than the two people inside it. Two heads lean toward each other until the space between them closes into the unmistakable curve of a heart, held there not by drawing but by the simple fact of closeness.\u003c\/p\u003e\u003cp\u003eAlmost nothing else survives. The shoulders, the arms, the long line of the bodies below fall back into the dark and stay there, untouched. What Art with Scratch keeps is only what the eye needs: the tilt of two foreheads, the small crescent of a profile, the crossed hands meeting low in the frame like a second, quieter heart. Everything else is left to the imagination, generous with what it chooses not to show.\u003c\/p\u003e\u003cp\u003eNo paint. No print. No ink. The image is built from controlled scratches worked directly into the acrylic glass, a field of fine marks that catches the light and gives the two faces their weight and their grain. The image is always present, even in a dim room. Light does not create it, it sharpens it, so that under a direct source the contrast deepens and the embrace seems to lift slightly off the black.\u003c\/p\u003e\u003cp\u003eFrom across a room the work reads as one simple, monumental shape, a heart formed by absence more than presence. Move closer and that shape opens into a field of fine scratches, each part of a surface that looks and feels shaped by hand, though how it came to be stays the artist's own quiet secret. It reads differently from every angle, without ever losing the two figures at its center.\u003c\/p\u003e\u003cp\u003eThere is a longer story underneath the tenderness. A heart made this way, from what has been taken away rather than added, suggests that closeness itself is a kind of erosion, two people worn gently into each other until neither shape feels complete without the other.\u003c\/p\u003e\u003cp\u003eA Heart Between Two Faces continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. This work is unique.\u003c\/p\u003e\u003cp\u003e\"Damage is not destruction here. It is the shape two people leave in each other.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580272607557,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/A_Heart_Between_Two_Faces_thumbnail.jpg?v=1791175452"},{"product_id":"chaplin-keeps-his-silence","title":"Chaplin Keeps His Silence","description":"\u003cp\u003eChaplin Keeps His Silence shows the Tramp in the one gesture that needs no words. A finger raised to closed lips, eyebrows lifted, eyes wide and fixed on the viewer. It is the oldest kind of silent performance there is, built entirely on the face, and it finds an unexpected second life in a medium that also speaks without a sound.\u003c\/p\u003e\u003cp\u003eThe face is formed from a field of fine scratches held in acrylic glass, where the surface itself catches and carries the light. The bowler hat, the moustache and the deep background stay untouched and dark, so the likeness seems to rise out of the black rather than sit on top of it. No paint. No print. No ink. The image exists because material was taken away, not added.\u003c\/p\u003e\u003cp\u003eLight does not create this image. It sharpens it. The contrast deepens as the angle shifts, and the gesture of quiet becomes, for a moment, almost audible in its stillness. The work is always present, never hidden, but it keeps revealing more of itself the longer it is watched.\u003c\/p\u003e\u003cp\u003eThere is a quiet irony built into the piece. Chaplin built a career on expression without dialogue, and here that expression is built without pigment, through controlled surface damage rather than image laid onto the glass. Silence answering silence.\u003c\/p\u003e\u003cp\u003eSeen from across a room the portrait reads as one monumental, instantly recognisable face. Close up, that face dissolves into a field of individual marks, a reminder that every likeness, however iconic, is made of small and deliberate decisions.\u003c\/p\u003e\u003cp\u003eChaplin Keeps His Silence continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. A visual language where damage is not destruction, but structure. This work is unique.\u003c\/p\u003e\u003cp\u003e\"Some things are said best by saying nothing at all.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580272640325,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/Chaplin_Keeps_His_Silence_thumbnail.jpg?v=1791175457"},{"product_id":"caesar-before-the-blade","title":"Caesar Before the Blade","description":"\u003cp\u003eCaesar Before the Blade holds the last steady breath before history turns. He is shown in profile, calm, composed, every line of command still intact, while behind his shoulder a hand closes around a dagger and brings its point into the light. The work does not show the strike. It shows the instant just before it, which is often the more honest portrait of power.\u003c\/p\u003e\u003cp\u003eIn the finished piece the face is where the light lives. A field of fine scratches builds the brow, the set of the eyes, the line of the nose and jaw, so that Caesar's expression seems to surface out of the acrylic glass rather than sit on top of it. The laurel leaves and the hair fall back into the dark, present but withheld, as if even the symbols of his rule are already slipping from him. Below, the raised hand and the blade catch the same light as the face, a visual rhyme that ties the killer's hand to the ruler's calm.\u003c\/p\u003e\u003cp\u003eThe deep black that surrounds him is not empty. It is the pressure of the moment, the unseen hand, the conspiracy gathering just outside the frame. Power, in this piece, is shown at its most exposed point, a single body between glory and betrayal, lit from one side and unguarded from the other.\u003c\/p\u003e\u003cp\u003eNo paint. No print. No ink. The image is scratched into the surface of the acrylic glass, a field of individual marks shaped so that darkness becomes the ground and light becomes the face, the wreath, the blade. The image is always present, with or without direct light. Light does not create it, it sharpens it, so under a shifting angle the contrast deepens and the portrait reads differently without ever losing its form.\u003c\/p\u003e\u003cp\u003eFrom across a room the work reads as a single monumental face caught in a private, dangerous moment. Close up, that same face dissolves into a field of scratches, a surface built entirely through controlled surface damage rather than pigment or print. Caesar Before the Blade continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print, and in which the fall of a man at the height of his power becomes a study in how light holds what darkness is about to take.\u003c\/p\u003e\u003cp\u003eA visual language where damage is not destruction, but structure.\u003c\/p\u003e\u003cp\u003e\"The blade enters before the eye can.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580272673093,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/Caesar_Before_the_Blade_thumbnail.jpg?v=1791175462"},{"product_id":"held-at-the-threshold","title":"Held at the Threshold","description":"\u003cp\u003eA doorway of pure white light cuts through the dark, narrow and upright, like a seam opened in the night itself. One figure stands inside it, reduced to a black silhouette against the glow. Beside the doorway, just outside the light, a second figure in pale clothing waits in the dark. Their hands meet exactly at the edge, where the light ends and the shadow begins.\u003c\/p\u003e\u003cp\u003eNo paint. No print. No ink. The image is scratched into the surface of the acrylic glass, a field of individual marks shaped by removal rather than addition. The glow of the doorway is not painted brightness, it is abrasion, a surface worked until it holds light the way skin holds warmth.\u003c\/p\u003e\u003cp\u003eThe image is always present. Light gives it depth, under direct illumination the scratches catch and reflect, and the contrast deepens. It reads differently from different angles, without ever losing the two figures or the line that joins them. Light does not create the image. It sharpens it.\u003c\/p\u003e\u003cp\u003eFrom across a room the work reads as a single monumental shape, a vertical column of light holding two human forms at its edge. Step closer and that column dissolves into a field of fine scratches, each one part of the glow, none of them visible on its own.\u003c\/p\u003e\u003cp\u003eThe subject is simple and old, two people, a threshold, a hand that will not let go. One is already claimed by the light, the other still belongs to the dark, and the only bridge between them is touch. It is a quiet image about what we hold onto at the edge of change, and what we are willing to let take us.\u003c\/p\u003e\u003cp\u003eHeld at the Threshold continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. A visual language where damage is not destruction, but structure.\u003c\/p\u003e\u003cp\u003e\"Some thresholds are crossed alone. This one is held by two hands.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580272705861,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/Held_at_the_Threshold_thumbnail.jpg?v=1791175467"},{"product_id":"a-reach-held-in-green","title":"A Reach Held in Green","description":"\u003cp\u003eA Reach Held in Green\u003c\/p\u003e\u003cp\u003eShe stands on the balls of her feet, her whole body drawn upward into one long line, reaching past her own height toward a single apple caught on a branch above her. A slender snake hangs from that same branch, watching her the way only something older than her ever could. Her hair stays unlit, a dark fall against the void, while her raised arm, her shoulder blades and the curve of her hip emerge as if the darkness had just released them.\u003c\/p\u003e\u003cp\u003eThe work is shaped in deep green coloured mirror glass, and the green is not decoration. It is the colour of the garden she is standing in before the reach is finished, the colour of leaf and branch and everything still growing, still whole. Her figure is cut from that green as a field of fine scratches, present rather than painted, closer to something uncovered than something made.\u003c\/p\u003e\u003cp\u003eNo paint, no print, no ink. The image exists because the surface was taken away in exactly the places where light needed to gather, leaving the rest in a darkness that was never touched. From across the room she reads as a single gesture, one arm raised into stillness. Up close, that gesture opens into a field of individual marks, each one holding its own sliver of light.\u003c\/p\u003e\u003cp\u003eThe image is always there, with or without a spotlight. Light does not create her, it sharpens her: under direct light the contrast deepens, the scratches catch and hold their shine, and she comes forward from the glass with more weight. Turn away, dim the room, and she remains exactly where she was, patient as the moment just before a choice.\u003c\/p\u003e\u003cp\u003eAround her, the coloured mirror keeps doing its own work. The gallery wall, the window, the person standing in front of it, all of it gathers in the green surrounding her outstretched arm, so that whoever is looking becomes part of the same darkness she is reaching out of. The snake sees her. The glass makes sure you are seen too.\u003c\/p\u003e\u003cp\u003eThis piece continues the Art on Mirror series by Tijs Dragtsma, in which scratched imagery is set into coloured mirror glass and the viewer becomes part of the work. A visual language where damage is not destruction, but structure, and where the mirror turns looking into taking part.\u003c\/p\u003e\u003cp\u003e\"Some reaches are remembered less for what was taken than for the light they left behind.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580272738629,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/A_Reach_Held_in_Green_thumbnail.jpg?v=1791175472"},{"product_id":"a-king-held-in-green","title":"A King Held in Green","description":"\u003cp\u003eIn the deep green coloured mirror glass, a lion's face emerges without the mane that usually announces it. In its place sits a crown of oak leaves, overlapping like the plates of an old shield, formed not by paint but by a field of individual marks scratched into the surface itself.\u003c\/p\u003e\u003cp\u003eThe eyes hold the viewer directly, unmoved, while the brow, the muzzle and the tips of the leaves catch the one source of light the work allows. The rest of the head sinks into black, a king's face withheld as much as it is revealed, dramatic and economical in equal measure.\u003c\/p\u003e\u003cp\u003eGreen carries a weight here it would not carry elsewhere, the colour of oak leaves before the fall, of permanence rather than display, a crown grown rather than bestowed. Set into coloured mirror glass, the king's authority starts to feel closer to nature's own, quieter, and older than any throne.\u003c\/p\u003e\u003cp\u003eFrom across the room the work reads as a single commanding presence, a portrait cut whole from the dark. Up close, that presence dissolves into a field of fine scratches, controlled surface damage that only resolves back into a face at a distance. The image sits in the surface itself, not applied onto it, so it stays present in every light.\u003c\/p\u003e\u003cp\u003eAround the lion, the mirror holds the room and the person standing in front of it. Gallery walls, other works, your own outline settle into the dark green field surrounding the king, so that looking at him means appearing beside him. Light does not create the image, it sharpens it, deepening the contrast without ever changing what is shown.\u003c\/p\u003e\u003cp\u003eA King Held in Green continues the Art on Mirror series by Tijs Dragtsma, in which scratched imagery is set into coloured mirror glass and the viewer becomes part of the work. A visual language where damage is not destruction, but structure, and where the mirror turns looking into taking part.\u003c\/p\u003e\u003cp\u003e\"Not crowned. Grown.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580272771397,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/A_King_Held_in_Green_thumbnail.jpg?v=1791175477"},{"product_id":"a-body-striped-in-silver","title":"A Body Striped in Silver","description":"\u003cp\u003eA Body Striped in Silver holds a figure caught between visibility and shadow, her torso built entirely from bands of fine scratches that fall across her like light through a half closed blind. The face tips back into darkness, the legs dissolve into the same black ground, and what remains is a body read only in fragments, chest, stomach, the soft turn of a shoulder, each one picked out where the surface has been worked and left to catch the light.\u003c\/p\u003e\u003cp\u003eNo paint. No print. No ink. The image is scratched into the acrylic glass, a field of individual marks laid in parallel bands so the body seems wrapped in stripes of brightness rather than lit by them. At the chest, one band breaks and a small dark shape remains untouched, a single pause in the rhythm, as if the light itself hesitated there.\u003c\/p\u003e\u003cp\u003eFrom across a room the figure reads as a single clear form, monumental in its stillness. Close against the glass, that form breaks apart into a field of fine scratches, a hand worked rhythm of lines that only resolves again as you step back. The image is always present, with or without direct light. Light does not create it, it sharpens it, deepening the contrast and letting the stripes hold their shine.\u003c\/p\u003e\u003cp\u003eWhat is withheld carries as much weight as what is shown. A face turned into shadow, legs that refuse to surface, a body offered only in the parts the light chooses to strike, this is intimacy built from restraint rather than exposure, a presence that stays partly its own even while standing fully bare.\u003c\/p\u003e\u003cp\u003eA Body Striped in Silver continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. It reads differently from different angles, without ever losing the image. This work is unique.\u003c\/p\u003e\u003cp\u003e\"Some light does not reveal a body. It withholds just enough to keep it hers.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580272836933,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/A_Body_Striped_in_Silver_thumbnail.jpg?v=1791175482"},{"product_id":"mata-hari-in-veiled-light","title":"Mata Hari in Veiled Light","description":"\u003cp\u003eMata Hari in Veiled Light meets her the way history remembers her, caught between performance and disappearance. She turns over one shoulder, eyes dark and steady, half her face already given to shadow. Nothing about this portrait asks to be fully seen. That is the point.\u003c\/p\u003e\u003cp\u003eThe veil and the jeweled headdress emerge as a field of fine scratches, holding the light while the rest of the surface stays close to black. Photographic detail falls away. What remains is structure, the sweep of fabric over her shoulder, the glint of stones across her brow, the line of a cheek caught at the edge of the dark.\u003c\/p\u003e\u003cp\u003eMata Hari built a life on concealment, on the distance between the woman and the performance she offered the world. A veil that both reveals and withholds, a face turned toward the viewer but never fully given, feels less like illustration and more like an honest account of who she was.\u003c\/p\u003e\u003cp\u003eNo paint. No print. No ink. The image is shaped from controlled scratches, worked into the surface of acrylic glass rather than applied onto it. It is always present, in daylight or in a dim room alike. Light does not create the image. It sharpens it, deepening the contrast and giving the headdress and veil their shine.\u003c\/p\u003e\u003cp\u003eFrom across a room the portrait reads as a woman caught in a single turn, monumental and still. Closer, that same figure resolves into a field of individual marks, each one holding its own small measure of light. It reads differently from different angles, without ever losing her.\u003c\/p\u003e\u003cp\u003eThis work continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. A visual language where damage is not destruction, but structure.\u003c\/p\u003e\u003cp\u003e\"Her face has already decided what it will show you, and what it will keep.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580272902469,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/Mata_Hari_in_Veiled_Light_thumbnail.jpg?v=1791175487"},{"product_id":"newton-reaching-for-light","title":"Newton Reaching for Light","description":"\u003cp\u003eA hand rises out of the dark, fingers curled around something we barely need to see to recognise. The gesture is older than the man holding it. It is the instant before understanding arrives, held and never released.\u003c\/p\u003e\u003cp\u003eNewton's face tilts upward into the light, caught mid thought, the eyes fixed on a point beyond the frame. Everything else, the heavy curls, the open collar, the weight of his coat, sinks back into black. Only what the mind is reaching for stays lit.\u003c\/p\u003e\u003cp\u003eThis is what Art with Scratch does with a moment like this one. No paint. No print. No ink. The image is scratched into the surface of the acrylic glass, built from a field of individual marks that catch and release light the way a mind catches and releases an idea.\u003c\/p\u003e\u003cp\u003eThe image is always present, visible with or without direct light. Light does not create it, it sharpens it. Under a strong source the scratches deepen in contrast and the raised hand, the face, the collar come forward with new clarity. Seen from another angle, the same work settles into quiet. The gesture of reaching stays constant either way.\u003c\/p\u003e\u003cp\u003eFrom across a room the portrait reads as monumental, a single figure suspended in black, caught at the edge of discovery. Close up it dissolves into the field of fine scratches that make it, proof that this clarity was built, not printed.\u003c\/p\u003e\u003cp\u003eBeneath the history there is a simpler image: a hand raised toward something not yet understood, a face turned up to meet it anyway. Newton Reaching for Light continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. A visual language where damage is not destruction, but structure.\u003c\/p\u003e\u003cp\u003e\"Some light is not found. It is reached for.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580272935237,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/Newton_Reaching_for_Light_thumbnail.jpg?v=1791175492"},{"product_id":"brando-among-the-embers","title":"Brando Among the Embers","description":"\u003cp\u003eA face surfaces out of total black, heavy lidded, composed, carrying the weight of a man who has stopped needing to raise his voice. Grey hair catches first, then brow and cheekbone, built from a field of fine scratches that hold the light the way skin holds a lifetime. Everywhere else, the black stays black. Suit, background, the room itself, all of it is left untouched, so the only thing permitted to exist is the face and the two hands cradling something soft against a chest built for armor.\u003c\/p\u003e\u003cp\u003eThat contrast is the whole story. The cat is barely there, a few pale marks suggesting warmth in hands that could just as easily close into a fist. The rose at the lapel catches its own small patch of light, a tenderness pinned to a man who deals in fear. Nothing here is decorative. Every passage of light is doing the work that a brushstroke or a camera flash would do in another medium, except there is no pigment, no print, no ink involved. No paint. No print. No ink. The image is scratched into the surface of the acrylic glass.\u003c\/p\u003e\u003cp\u003eSeen from across a room, the work reads as a single commanding presence, monumental, unmistakable, an old world authority caught mid thought. Up close it dissolves into a field of individual marks, a surface that looks worked by hand and time rather than by any single gesture. The image is always present, with or without direct light. Light does not create it. It sharpens it, deepens the contrast, lets the eyes hold their heaviness a little longer.\u003c\/p\u003e\u003cp\u003eThe subject carries its own mythology, the aging patriarch, the quiet menace, the softness he allows only in private. Holding the cat is an old cinematic shorthand for power that chooses when to show gentleness, and the piece leans into that tension rather than resolving it. Power and tenderness share the same hands here, and neither one wins.\u003c\/p\u003e\u003cp\u003eThis work continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. A visual language where damage is not destruction, but structure.\u003c\/p\u003e\u003cp\u003e\"Even in the dark, he is still watching.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580273787205,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/Brando_Among_the_Embers_thumbnail.jpg?v=1791175497"},{"product_id":"marilyn-in-flashbulb-light","title":"Marilyn in Flashbulb Light","description":"\u003cp\u003eMarilyn in Flashbulb Light opens on a laugh thrown back into the dark, caught at the exact instant a camera flash detonates behind her like a small, private sun. The flash becomes a star of raw white light, its points scratched into the acrylic glass as a field of fine scratches that seem to still be exploding. Out of that same light, her face and hair gather into brightness, every curl and curve of her smile held in marks that catch and release the eye.\u003c\/p\u003e\u003cp\u003eHer shoulders and the fur stole sink back into shadow, a dark silhouette the light cannot fully claim. That is the quiet center of the work: the woman the world photographed endlessly reduced here to a shape of controlled surface damage, glowing where the flash finds her and disappearing into pure black where it does not. No paint. No print. No ink. The image is scratched into the surface of the acrylic glass, built by removal rather than addition.\u003c\/p\u003e\u003cp\u003eFrom across a room the portrait reads as one dramatic burst, Marilyn's laugh and the flash fused into a single gesture of light. Step closer and that certainty dissolves into a field of individual marks, each one small and deliberate, none of them alone resembling a face or a flashbulb. The image is always present, in direct light or none, but light sharpens it: the white deepens, the contrast opens, and the laugh seems to lift a little further off the surface.\u003c\/p\u003e\u003cp\u003eThere is a second subject here beside the star herself, which is the flash, the mechanism of being seen that made her famous and consumed her in equal measure. Her joy and that burst of light are scratched into the same surface, inseparable, so the work holds both the warmth of the laugh and the cold flare of exposure it answers to.\u003c\/p\u003e\u003cp\u003eThis piece continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. It reads differently from different angles, without ever losing the image. Light does not create the image. It sharpens it.\u003c\/p\u003e\u003cp\u003e\"A visual language where damage is not destruction, but structure.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580273819973,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/Marilyn_in_Flashbulb_Light_thumbnail.jpg?v=1791175502"},{"product_id":"hitchcock-in-half-light","title":"Hitchcock in Half Light","description":"\u003cp\u003eThe face arrives first, and almost nothing else does. Out of a surface held almost entirely in black, Hitchcock's profile is built from a field of fine scratches, gathered densely across the brow, the broad nose, the famous jowl, so that the features seem to press forward out of the dark rather than sit upon it. The eye socket, the hollow beneath the jaw, the far side of the face stay untouched and vanish into pure black, so the man reads not as a photograph but as a presence caught mid turn, watching and being watched at once.\u003c\/p\u003e\u003cp\u003eBehind him the crow is barely there. Its body is suggested by the faintest gathering of marks along a wing, a single claw gripping the shoulder, the rest left to the dark so that it feels less like a bird perched in the frame and more like something that has settled there without quite announcing itself. That restraint carries its own tension, the sense of a watcher just out of focus, which suits no subject better than this one.\u003c\/p\u003e\u003cp\u003eNo paint. No print. No ink. The image is scratched into the surface of the acrylic glass, a field of individual marks that catches and holds light rather than reflecting it back evenly, so the face seems lit from within even as the background refuses to give anything away.\u003c\/p\u003e\u003cp\u003eThe image is always present, visible in plain light as a quiet field of texture across the dark. Light does not create it. It sharpens it, so that under a direct source the ridges of the face catch and the contrast deepens, while from another angle the same face settles back into stillness without ever losing its form.\u003c\/p\u003e\u003cp\u003eHitchcock built a career on exactly this kind of looking, the audience watching a man who is always, in turn, watching something else, often something ominous perched just behind a shoulder. Here the formal language of the work becomes an extension of that idea: a portrait that must be looked for in the dark, built from damage rather than light, of a man who understood better than most how much is carried by what a frame chooses not to show.\u003c\/p\u003e\u003cp\u003eThis piece continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. A visual language where damage is not destruction, but structure.\u003c\/p\u003e\u003cp\u003e\"What isn't shown is still watching you.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580274639173,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/Hitchcock_in_Half_Light_thumbnail.jpg?v=1791175507"},{"product_id":"a-spiral-thinned-to-dust","title":"A Spiral Thinned to Dust","description":"\u003cp\u003eA Spiral Thinned to Dust holds the shape of a galaxy seen from above, its arms curling slowly outward from a dense and luminous center. Nothing here was painted or printed onto the surface. The image is built from depth, a field of individual marks drawn tightly together at the core and scattered thin toward the edges, where the spiral dissolves into the surrounding dark.\u003c\/p\u003e\u003cp\u003eSeen from across a room, the work reads as a single quiet form, pale and still against black, almost weightless. Step closer and that stillness breaks apart into a field of fine scratches, each one catching light at its own angle. Tilt the surface, change the light, move your own position, and the galaxy brightens, fades, or turns to shadow, never fixed, always a little different than the last time you looked.\u003c\/p\u003e\u003cp\u003eA galaxy is already a kind of memory. Its light left the core long before it reached any eye that could see it, and its outer arms are mostly empty space holding a scatter of matter together by little more than gravity and time. The work borrows that honesty. Most of its surface is void. What remains, the small bright marks that still catch the light, is enough to suggest an entire spinning system, drifting slowly into dust.\u003c\/p\u003e\u003cp\u003eA Spiral Thinned to Dust continues the Art with Void series by Tijs Dragtsma, in which imagery is constructed through depth and absence rather than paint or print. A visual language where absence is not emptiness, but presence.\u003c\/p\u003e\u003cp\u003e\"Even a galaxy is mostly absence, holding its light at a distance.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580274671941,"sku":null,"price":3750.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/A_Spiral_Thinned_to_Dust_thumbnail.jpg?v=1791175512"},{"product_id":"a-grip-carved-from-night","title":"A Grip Carved From Night","description":"\u003cp\u003eA fist rises from black, formed not by addition but by a field of individual marks that catch the light and let the rest fall away. The knuckles hold the brightest ground, a ridge of presence pushed forward into the dark, while the curl of the fingers and the hollow beneath the thumb surrender almost entirely to the void around them.\u003c\/p\u003e\u003cp\u003eFrom a distance the gesture reads whole, monumental, unmistakable. The arm rises out of silence, settling into a wrist and gathering itself into a hand closed around nothing and everything at once. Up close, that certainty dissolves into a field of depth, scattered points that only agree to be a fist when the eye steps back and the light does its quiet work.\u003c\/p\u003e\u003cp\u003eThe composition withholds as much as it gives. No paint, no print, no ink describes this knuckle, this crease, this raised vein beneath the skin. What remains is controlled absence, a surface that trades certainty for suggestion and asks the room's light to finish the gesture each time it is seen.\u003c\/p\u003e\u003cp\u003eA clenched fist has always carried more than its anatomy. It is a held breath, a refusal, a single moment of resolve caught before it either opens or strikes. Shaped through depth rather than through detail, it becomes less a specific hand and more the idea of standing firm, visible only when the light agrees to reveal it.\u003c\/p\u003e\u003cp\u003eThis piece continues the Art with Void series by Tijs Dragtsma, in which imagery is constructed through depth and absence rather than paint or print. This work is unique.\u003c\/p\u003e\u003cp\u003eA visual language where absence is not emptiness, but presence.\u003c\/p\u003e\u003cp\u003e\"Some gestures need no face to be understood.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580274704709,"sku":null,"price":3750.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/A_Grip_Carved_From_Night_thumbnail.jpg?v=1791175519"},{"product_id":"a-horn-held-in-points","title":"A Horn Held in Points","description":"\u003cp\u003eA rhinoceros does not announce itself. It arrives slowly, the way weight arrives, the way old things arrive, and here it is held almost entirely in light. The head and shoulder gather into a dense field of depth, while the far side of the body thins until it is barely a suggestion, then gone. One leg stands firm in the field. The other has already stepped into the dark and is not given back.\u003c\/p\u003e\u003cp\u003eNothing here was added. No paint, no print, no ink. The folds of the skin, the curve of the ear, the single eye set like a quiet stone, all of it is built from a field of individual marks, voids in the surface that only resolve into form when light finds them from above. Turn the light, change your distance, and the animal softens back toward absence.\u003c\/p\u003e\u003cp\u003eFrom across a room the work is monumental and still, a silhouette standing in its own quiet. Walk closer and the silhouette breaks into a field of depth, point by point, the way skin itself is made of small things repeated until they read as hide, as armor, as age.\u003c\/p\u003e\u003cp\u003eThe horn carries the piece. It is drawn with the fewest marks of all, tapering into near nothing at its tip, as if the animal's whole bearing is concentrated into one line of light held against the dark. An old symbol of strength that has always also marked it for harm, shown here as something that could vanish as easily as it appears.\u003c\/p\u003e\u003cp\u003eThis is a study of mass without weight, of armor built from air. The rhinoceros has outlived ages it was never meant to survive, and the work treats that endurance the way it treats the body itself, as something present only because the dark has, for now, let it be seen.\u003c\/p\u003e\u003cp\u003eA Horn Held in Points continues the Art with Void series by Tijs Dragtsma, in which imagery is constructed through depth and absence rather than paint or print. A visual language where absence is not emptiness, but presence.\u003c\/p\u003e\u003cp\u003e\"What remains is only what the light was willing to give back.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580274737477,"sku":null,"price":3750.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/A_Horn_Held_in_Points_thumbnail.jpg?v=1791175524"},{"product_id":"athena-scattered-into-starlight","title":"Athena Scattered Into Starlight","description":"\u003cp\u003eShe arrives not as stone but as a field of individual marks suspended in black, Athena with her crested helmet turned in three quarter profile, her calm features held together by nothing but depth and the absence around them.\u003c\/p\u003e\u003cp\u003eThe crest rises dense and bright, each plume given its full weight, and the brow and the line of her nose carry the clearest light in the piece. Her shoulders and the fall of her drapery are allowed to thin, the marks growing sparser until they are swallowed by the surrounding dark, so that armor and myth alike seem to step out of, or dissolve back into, the night around her.\u003c\/p\u003e\u003cp\u003eThere is no background, no plinth, no setting beyond the void itself. From across a room the goddess reads as a single pale presence, a constellation briefly gathered into a face. Closer, that presence breaks into its true nature, a field of fine scratches and points, each one small, together holding the weight of a profile that has outlasted the civilization that first carved it.\u003c\/p\u003e\u003cp\u003eAthena was wisdom armed, the mind that chose the shield over the spear when reason allowed it. Here she is given a second kind of armor, not bronze but light, a helmet and a gaze that hold their form only as long as the viewer stays to look. Turn away, and she scatters, as if returning to the stars she was always said to descend from.\u003c\/p\u003e\u003cp\u003eAthena Scattered Into Starlight continues the Art with Void series by Tijs Dragtsma, in which imagery is constructed through depth and absence rather than paint or print.\u003c\/p\u003e\u003cp\u003eA visual language where absence is not emptiness, but presence.\u003c\/p\u003e\u003cp\u003e\"What remains of a goddess is what the dark chooses to release.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580275392837,"sku":null,"price":3750.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/Athena_Scattered_Into_Starlight_thumbnail.jpg?v=1791175530"},{"product_id":"cleopatra-charms-the-light","title":"Cleopatra Charms the Light","description":"\u003cp\u003eCleopatra Charms the Light holds a queen at the edge of visibility, caught in profile as a rim of brightness traces her crown, her collar and the curve of her raised arm. No paint, no print, no ink. The image is scratched into the surface of the acrylic glass, and every line that defines her, headdress, jewelled collar, reaching hand, exists because the surface was taken away, not added to.\u003c\/p\u003e\u003cp\u003eIn her palm a serpent coils and climbs, its body drawn from the same field of fine scratches that gives her face its light. The gesture reads as command and as warning at once, the queen who ruled an empire and the queen whose story closes with a snake at her wrist. Cleopatra Charms the Light does not choose between the two. It lets power and mortality rest in the same raised hand.\u003c\/p\u003e\u003cp\u003eFrom across a room the work reads as a single commanding silhouette, a ruler built from light and shadow rather than detail. Move closer and that figure opens into a field of individual marks, controlled scratches worked into the acrylic glass until they gather into a crown, a throat, a listening profile. The closer you look, the more the image asks to be read as structure rather than picture.\u003c\/p\u003e\u003cp\u003eThe image is always present, held in the surface rather than applied onto it. Light does not create it, it sharpens it. Under direct light the scratches catch and the contrast deepens, the collar grows heavier, the serpent more alive, while in softer light the same queen recedes into quiet, patient in the dark. It reads differently from different angles, without ever losing her.\u003c\/p\u003e\u003cp\u003eCleopatra Charms the Light continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print, a visual language where damage is not destruction, but structure.\u003c\/p\u003e\u003cp\u003e\"A queen who commands, even as she holds the thing that will undo her.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580275425605,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/Cleopatra_Charms_the_Light_thumbnail.jpg?v=1791175534"},{"product_id":"leonardo-in-vitruvian-light","title":"Leonardo in Vitruvian Light","description":"\u003cp\u003eLeonardo in Vitruvian Light places the artist inside his own invention. The circle and the square that once measured the ideal human body now surround an old man standing with his arms open, as though he has stepped into the diagram he gave the world and is, in turn, being measured by it.\u003c\/p\u003e\u003cp\u003eHere the geometry carries the light. The circle and square are held by a field of fine scratches, bright and continuous, while the figure within them stays mostly in shadow. His face and his long white beard catch the light as a quiet glow, a presence rather than a likeness, and his hands surface briefly where the reaching arms meet the circle's edge.\u003c\/p\u003e\u003cp\u003eThe robe, the body, the weight of the man, these are let go into darkness. What remains is proportion itself, the idea that a human being can be read through number and shape. Leonardo spent a lifetime searching for that order. In this work he becomes part of it, almost absorbed by the very measure he once used to explain the world.\u003c\/p\u003e\u003cp\u003eNo paint. No print. No ink. The image is formed through controlled surface damage on acrylic glass, a field of individual marks that hold the circle, the square and the old man together. The image is always present, it does not need direct light to exist. Light does not create it. It sharpens it, deepening the contrast between the glowing geometry and the man who dissolves into it.\u003c\/p\u003e\u003cp\u003eFrom a distance the work reads as a single luminous diagram, monumental and still. Up close it becomes a surface built from a field of fine scratches, each one part of a larger structure, the same tension between order and fragility that runs through Leonardo's own search for the perfect proportion of man.\u003c\/p\u003e\u003cp\u003eLeonardo in Vitruvian Light continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. This work is unique.\u003c\/p\u003e\u003cp\u003e\"A visual language where damage is not destruction, but structure.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580275458373,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/Leonardo_in_Vitruvian_Light_thumbnail.jpg?v=1791175540"},{"product_id":"napoleon-before-the-tide","title":"Napoleon Before the Tide","description":"\u003cp\u003eHe stands with his back to us, the bicorne hat and the long grey coat enough to say everything. No face is needed. Napoleon Bonaparte is carried entirely by silhouette and stance, by the set of the shoulders and the hands clasped behind him, a gesture of command that has nowhere left to command. Before him the sea moves, restless and indifferent, the one force he cannot negotiate with.\u003c\/p\u003e\u003cp\u003eIn this work the figure is held as a field of fine scratches across acrylic glass, the coat's folds and the crest of the hat picked out where the surface catches light, the rest left in untouched dark. No paint. No print. No ink. The image is scratched into the surface of the acrylic glass, present at every hour, not waiting for a spotlight to exist.\u003c\/p\u003e\u003cp\u003eFrom across a room the composition reads as pure monument, a solitary figure fixed against the tide. Step closer and that certainty dissolves into a field of individual marks, each one small and deliberate, none of them alone describing a man. The image is always present. Light gives it depth: under direct light the scratches catch and reflect, and the contrast deepens. It reads differently from different angles, without ever losing the image.\u003c\/p\u003e\u003cp\u003eWhat the work withholds is as important as what it shows. There is no expression to read, no eyes to meet. Only the outline of power turned away, watching water that will keep moving long after empires end. It is less a portrait than a meditation on the moment before a fall, the stillness just before history turns.\u003c\/p\u003e\u003cp\u003eThis piece continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. Light does not create the image. It sharpens it. A visual language where damage is not destruction, but structure.\u003c\/p\u003e\u003cp\u003eThis work is unique.\u003c\/p\u003e\u003cp\u003e\"Even an emperor, from behind, is only a man facing the water.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580275491141,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/Napoleon_Before_the_Tide_thumbnail.jpg?v=1791175545"},{"product_id":"leashed-to-his-own-shadow","title":"Leashed to His Own Shadow","description":"\u003cp\u003eSeen from behind, a man walks across a field of fine scratches, and ahead of him, stretched far beyond his own height, moves a shadow he holds on a leash. The shadow is not smaller than him, as shadows usually are. It is larger, longer, almost its own figure, leading as much as being led.\u003c\/p\u003e\u003cp\u003eIn this work the surface itself becomes the light. The ground the two figures stand on is a field of individual marks, worked into the acrylic glass until it holds a quiet glow, and out of that glow the man and his shadow are left dark, untouched, cut away rather than drawn in. No paint. No print. No ink. The image is scratched into the surface, and it is always there, present even without a spotlight aimed at it.\u003c\/p\u003e\u003cp\u003eWhat makes the piece hold your attention is the question it will not answer. Is he walking the shadow, or is the shadow pulling him along, patient and oversized, waiting for the moment the leash runs out. The longer a shadow grows, the more it seems to lead rather than follow, and here that reversal is built directly into the composition.\u003c\/p\u003e\u003cp\u003eFrom a distance the scene reads as a single calm gesture, two dark shapes joined by a thin curved line against a luminous ground. Step closer and that ground resolves into a field of individual marks, each one part of the light that holds the figures in place. Light does not create the image here. It sharpens it, deepening the contrast between the man, his shadow, and the surface that carries them both.\u003c\/p\u003e\u003cp\u003eLeashed to His Own Shadow continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. A visual language where damage is not destruction, but structure, used here to ask what it means to carry your own darkness on a line, always a step behind you, always a step ahead.\u003c\/p\u003e\u003cp\u003e\"Some things cannot be left behind. They can only be walked, carefully, on a leash of your own making.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580275523909,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/Leashed_to_His_Own_Shadow_thumbnail.jpg?v=1791175550"},{"product_id":"a-dress-unravels-into-wings","title":"A Dress Unravels Into Wings","description":"\u003cp\u003eShe stands caught in a single fall of light, her dress already giving way at the hem. Where the fabric should end, it keeps unraveling instead, and what was cloth becomes a flock of birds carrying the last of the gown into the dark.\u003c\/p\u003e\u003cp\u003eThe image is held entirely as a field of fine scratches across acrylic glass, shaped out of an almost featureless black. No paint. No print. No ink. The floor beneath her glows as a field of individual marks, while the birds remain dark silhouettes cut from that light, caught mid departure.\u003c\/p\u003e\u003cp\u003eThe image is always present, scratched into the surface rather than applied onto it. Light does not create it. It sharpens it, so that from a changed angle the contrast deepens and the flock seems to gather more speed as it lifts away.\u003c\/p\u003e\u003cp\u003eThere is a quiet symbolism here, of a woman shedding the shape she was given, of identity loosening at the edges until it lifts and becomes something closer to flight. The dress does not simply fall away. It turns into whatever is leaving.\u003c\/p\u003e\u003cp\u003eA Dress Unravels Into Wings continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. This work is unique.\u003c\/p\u003e\u003cp\u003eA visual language where damage is not destruction, but structure.\u003c\/p\u003e\u003cp\u003e\"She does not vanish. She becomes the birds that carry her away.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580276080965,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/A_Dress_Unravels_Into_Wings_thumbnail.jpg?v=1791175555"},{"product_id":"chanel-traced-in-smoke","title":"Chanel Traced in Smoke","description":"\u003cp\u003eChanel Traced in Smoke takes one of the most photographed faces of the twentieth century and lets most of her disappear. What remains is a field of individual marks that gathers into a brow, an eye, the set of a mouth that gave nothing away. The rest of the frame returns to black, not as a background but as a decision.\u003c\/p\u003e\u003cp\u003eThe hat survives almost whole, its band of pearls a bright arc above a face built from depth rather than shading. The cigarette holds its line in smoke thin marks, a gesture caught mid air and barely kept. The scissors hang by a few scattered points, present only as a suggestion, the way a tool of her trade might linger at the edge of memory rather than the center of attention. The coat, the shoulders, most of the hand fall away entirely into the surrounding dark.\u003c\/p\u003e\u003cp\u003eThat imbalance is the work. A face assembled from a field of depth, a gesture reduced to a thread of light, and a void that refuses to explain itself. From across a room the piece reads as little more than a glint in black acrylic glass, a suggestion of a woman rather than a record of one. Step closer and the depth resolves into likeness, into the particular tilt of a head that built an empire on restraint.\u003c\/p\u003e\u003cp\u003eChanel built a language out of what she removed, the ornament she refused, the color she withheld, the silhouette she pared down until only the essential line remained. This piece answers her in kind. No paint. No print. No ink. Just light finding the depth that was left for it, the same economy of means that made her name synonymous with less being more.\u003c\/p\u003e\u003cp\u003eThis work continues the Art with Void series by Tijs Dragtsma, in which imagery is constructed through depth and absence rather than paint or print. A visual language where absence is not emptiness, but presence.\u003c\/p\u003e\u003cp\u003e\"Even her smoke knew when to stop.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580276113733,"sku":null,"price":3750.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/Chanel_Traced_in_Smoke_thumbnail.jpg?v=1791175561"},{"product_id":"a-scaffold-holds-the-sky","title":"A Scaffold Holds the Sky","description":"\u003cp\u003eA Scaffold Holds the Sky shows a spiral tower of stone climbing beyond itself, ring upon ring of arches winding upward until the clouds close over it. Scaffolding wraps every level, and tiny figures move along the ramps, caught mid labor on a structure that never seems to arrive at a top.\u003c\/p\u003e\u003cp\u003eNo paint. No print. No ink. The tower is scratched into the surface of the acrylic glass, built the same way it is shown, mark by mark, level by level, until the stone seems to hold its own light. The darkness around it is left untouched, so the tower rises out of true black the way it rises out of its own clouds.\u003c\/p\u003e\u003cp\u003eThe image is always present. Light gives it depth, under direct light the scratches catch and reflect, and the contrast deepens, the staircase and its arches gaining weight as if the work above were still underway. It reads differently from different angles, without ever losing the tower at its center. Light does not create the image. It sharpens it.\u003c\/p\u003e\u003cp\u003eFrom across a room the tower reads as a single monumental form, stone and sky in one gesture. Close in, that form dissolves into a field of individual marks, the same kind of patient, repeated labor that built the tower in the story the piece tells. The workers on the ramps are barely there, a few strokes of light, and that is the point, the structure is always larger than the hands that raise it.\u003c\/p\u003e\u003cp\u003eThere is a quiet theme underneath the image, the old ambition to build something that reaches the sky, and the scaffolding that never quite comes down because the work is never quite finished. A tower made of controlled surface damage carries that idea honestly, since it too is made by taking away, not adding, stone implied by everything the hand chose to leave dark.\u003c\/p\u003e\u003cp\u003eA Scaffold Holds the Sky continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. A visual language where damage is not destruction, but structure. This work is unique.\u003c\/p\u003e\u003cp\u003e\"Some towers are never finished. They are only ever still being built.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580276146501,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/A_Scaffold_Holds_the_Sky_thumbnail.jpg?v=1791175566"},{"product_id":"her-silence-wears-light","title":"Her Silence Wears Light","description":"\u003cp\u003eHer Silence Wears Light holds a single moment of trust, caught at the instant before touch dissolves into stillness. The woman leans back, eyes closed, her face tilted toward a light that will never fully explain itself, and that single gesture becomes the whole of the story.\u003c\/p\u003e\u003cp\u003eAround her, the man all but disappears. His arms remain, a weight she rests into, but his body is given back to the dark, present only as pressure and warmth rather than form. The work keeps her face, her throat, her folded hands and the quiet architecture of her shoulders, and lets everything else recede into black velvet silence.\u003c\/p\u003e\u003cp\u003eNo paint. No print. No ink. The image is built from a field of individual marks, controlled scratches worked directly into the surface of the acrylic glass, so that her presence is formed by what has been taken away rather than what has been added.\u003c\/p\u003e\u003cp\u003eLight does not create the image. It sharpens it. Seen straight on, she already glows, a quiet field of fine scratches gathered into a face, a throat, a pair of closed eyes. Turn the work, change the angle, and the contrast deepens further still, the light settling differently across her skin without ever losing the image beneath it.\u003c\/p\u003e\u003cp\u003eFrom across a room the piece reads as pure atmosphere, a woman emerging from darkness, held by someone the eye has to search for. Only up close does that atmosphere resolve into its structure, a field of fine scratches, each one placed, none of them accidental.\u003c\/p\u003e\u003cp\u003eBeneath the embrace lies a quieter question about intimacy itself, about how much of another person we actually hold onto, and how much of them we simply feel as absence, as warmth without outline. She is given light. He is given only shadow, and the tenderness of the piece lives exactly in that imbalance.\u003c\/p\u003e\u003cp\u003eHer Silence Wears Light continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. A visual language where damage is not destruction, but structure.\u003c\/p\u003e\u003cp\u003e\"What she keeps is light. What she loses is form, and still she is held.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580276179269,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/Her_Silence_Wears_Light_thumbnail.jpg?v=1791175571"},{"product_id":"a-ringed-head-adrift","title":"A Ringed Head Adrift","description":"\u003cp\u003eA figure stands chest up, in a pale suit, where the head should be there is a ringed planet instead. That single substitution carries the whole piece. The collar, the knot of the tie, the set of the shoulders, all remain unmistakably human, while the place where a face would be has been given over entirely to something vast and distant.\u003c\/p\u003e\u003cp\u003eThe planet itself holds the densest field of marks in the work, a sphere built from a field of individual points that gathers light the way a face might. Its near ring curves close and bright, but the far arc thins into scattered dots before it dissolves back into the surrounding black, as though the rings themselves are being pulled apart by the dark they pass through.\u003c\/p\u003e\u003cp\u003eLower down, the shadow of those rings falls across the collar and chest in long diagonal bands, cutting the suit into lit and unlit sections. The lower body is the quietest part of the piece, its field of marks loosening until the figure simply stops, unfinished, as if it continues somewhere past the edge of what can be shown.\u003c\/p\u003e\u003cp\u003eNothing here is added. No paint, no print, no ink was used to describe the planet, the shadow or the suit; every form exists because the surface was allowed to keep light in some places and let it go in others. The image appears only when light finds it, and it recedes again the moment the light moves on.\u003c\/p\u003e\u003cp\u003eThere is an old, quiet idea at the center of this piece, that identity can be replaced by something larger than a self, a private face traded for a public, orbiting distance. Seen from across a room, the work reads as a single still silhouette. Stepped closer, it opens into a field of depth, point by point, the same way a planet only shows its rings from a particular angle.\u003c\/p\u003e\u003cp\u003eA Ringed Head Adrift continues the Art with Void series by Tijs Dragtsma, in which imagery is constructed through depth and absence rather than paint or print.\u003c\/p\u003e\u003cp\u003e\"Where a face was, now there is only weather, rings, and the long shadow they cast.\"\u003c\/p\u003e\u003cp\u003eA visual language where absence is not emptiness, but presence.\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580276212037,"sku":null,"price":3750.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/A_Ringed_Head_Adrift_thumbnail.jpg?v=1791175577"},{"product_id":"a-pawns-borrowed-crown","title":"A Pawn's Borrowed Crown","description":"\u003cp\u003eA Pawn's Borrowed Crown holds a single moment of quiet theater. One pawn stands in a hard side light, small and plain, while the wall behind it carries something else entirely, the tall, commanding shadow of a queen. The piece itself has not changed. Only the light has, and in that light it becomes, for a moment, something it is not.\u003c\/p\u003e\u003cp\u003eNo paint. No print. No ink. The pawn and its borrowed shadow are built from a field of individual marks scratched into the surface of the acrylic glass. The image is always present, seen from across a room or from a step away, long before the eye separates the small figure from the towering shape behind it.\u003c\/p\u003e\u003cp\u003eLight does not create the image. It sharpens it. Under a direct source the scratches catch and hold the glow, the contrast deepens, and the round head of the pawn sits against a silhouette that dwarfs it. Step to the side and the work settles, quieter, trading its drama for calm, the image never lost, only read differently.\u003c\/p\u003e\u003cp\u003eThere is a story in the shape of that shadow. A pawn is the piece with the least power on the board, the one spent first, yet here its outline throws the shadow of a queen, the piece with the most. The work asks a simple, unsettling question, whether the crown is earned, or only cast by the angle of the light that happens to fall on you.\u003c\/p\u003e\u003cp\u003eFrom across the room it reads as a single, monumental gesture, a lone figure and its outsized reflection on a dark wall. Up close that gesture dissolves into a field of fine scratches, each one too small on its own to carry any meaning at all.\u003c\/p\u003e\u003cp\u003eA Pawn's Borrowed Crown continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. A visual language where damage is not destruction, but structure.\u003c\/p\u003e\u003cp\u003e\"Every piece believes, for a while, in the shadow it casts.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580276244805,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/A_Pawn_s_Borrowed_Crown_thumbnail.jpg?v=1791175581"},{"product_id":"a-cathedral-walks-through-mist","title":"A Cathedral Walks Through Mist","description":"\u003cp\u003eA Cathedral Walks Through Mist places a gothic cathedral on the back of an enormous tortoise, moving without hurry through a low, drifting mist. The animal carries architecture the way the earth carries history, slowly, patiently, without any sign of strain.\u003c\/p\u003e\u003cp\u003eNo paint. No print. No ink. The image is scratched into the surface of the acrylic glass, built through controlled surface damage rather than color. The cathedral's spires are formed from a field of fine scratches that catch and hold the light, while the tortoise's great shell and lowered head remain largely in shadow, a dark mass beneath the glowing stone above it.\u003c\/p\u003e\u003cp\u003eThe image is always present, visible with or without direct light. Light does not create the image. It sharpens it, deepening the contrast between the radiant architecture and the silent animal that bears it, and letting the mist at the tortoise's feet shift between clarity and quiet depending on where you stand.\u003c\/p\u003e\u003cp\u003eFrom a distance the work reads as a single monumental silhouette, a cathedral suspended above a slow and ancient body. Up close it resolves into a field of individual marks, each one part of the surface rather than applied onto it, so the structure and the creature seem to be made of the same material. It reads differently from different angles, without ever losing the image.\u003c\/p\u003e\u003cp\u003eThere is a symbolic weight to the pairing. A cathedral is built to outlast its builders, yet here it rests on something older still, a creature whose patience measures time in centuries rather than services or Sundays. Faith, permanence and the slow churn of the earth are folded into one quiet procession through the fog.\u003c\/p\u003e\u003cp\u003eA Cathedral Walks Through Mist continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. This work is unique.\u003c\/p\u003e\u003cp\u003e\"A visual language where damage is not destruction, but structure.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580276277573,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/A_Cathedral_Walks_Through_Mist_thumbnail.jpg?v=1791175587"},{"product_id":"a-mind-wound-in-brass","title":"A Mind Wound in Brass","description":"\u003cp\u003eA profile takes shape out of darkness, not drawn but uncovered. Where a skull would be, a field of fine scratches gathers into interlocking gears, each tooth and rim catching light as if machinery had quietly replaced thought. No paint. No print. No ink. The image is scratched into the surface of the acrylic glass, present at every hour, sharpened rather than summoned by the light that falls across it.\u003c\/p\u003e\u003cp\u003eWhat the surface lets go of is as telling as what it keeps. The jaw, the back of the skull, the space behind the mind, all remain in untouched black, a silhouette with no detail to hide behind. Only the mechanism glows, a field of individual marks standing in for the inner workings of a head that has traded softness for structure.\u003c\/p\u003e\u003cp\u003eAnd there, nested exactly where an eye should watch the world, a small bird rests instead. It is the one living form among the brass toothed wheels, built with the same patient abrasion but reading as flesh and feather rather than metal. Seeing has been replaced by something quieter: shelter, instinct, a single warm presence inside a cold architecture of gears.\u003c\/p\u003e\u003cp\u003eFrom across a room the work reads as a monument, a clean mechanical profile set against absolute black. Close in, that certainty dissolves into a field of scratches, controlled surface damage that refuses to resolve into anything but itself until distance restores the larger shape. The piece asks to be read twice, once as a whole and once as surface.\u003c\/p\u003e\u003cp\u003eAs a symbol it sits at an old crossroads, the fear that a mind can be reduced to interlocking parts, set against the stubborn fact that something nests there anyway, something that cannot be machined. Light does not create the image. It sharpens it, and with it the quiet argument the piece is making about what still lives inside the works.\u003c\/p\u003e\u003cp\u003eThis piece continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print. A visual language where damage is not destruction, but structure.\u003c\/p\u003e\u003cp\u003e\"Even a mind built of gears needs somewhere soft to nest.\"\u003c\/p\u003e\u003cp\u003eMore about the artist, process and materials can be found on the About page.\u003c\/p\u003e\u003cp\u003eQuestions about this work, availability or shipping can be sent through the contact page.\u003c\/p\u003e","brand":"TD Fine Art Studio","offers":[{"title":"Default Title","offer_id":59580276310341,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/0724\/0005\/files\/A_Mind_Wound_in_Brass_thumbnail.jpg?v=1791175592"}],"url":"https:\/\/tdfineartstudio.com\/collections\/upcoming.oembed?page=2","provider":"TD Fine Art Studio","version":"1.0","type":"link"}