A B O U T T H E A R T W O R K S
Each painting is an original.
So far, I've used cotton paper - 100% acid-free cotton paper with 300 gsm (140 lb); these have particular textures. Due to the paper fabrication process it has deckled edges, an uneven surface and a unique, rough texture. Because of this, all dimensions are approximate.
I have previously used The Langton Prestige 300 gsm (140 lb), a traditional 100% cotton paper; and handmade, Khadi Paper 300 gsm (140 lb), made of 100% recycled cotton which has a beautiful, handcrafted texture and slightly irregular dimensions.
I also use Hahnemuhle Bamboo paper (90% bamboo, 10% cotton) 265 gsm, which has a smoother texture.
With this choice of materials, I do my best to ensure the longevity of each artwork as well as its impact on the planet.
Natural pigments have been used by humans since the beginning of art creation. We can still see ancient cave paintings from 44,000 years ago in Indonesia and France made by our ancestors - a testimony to their skill and the longevity of these inks made from earth pigments - soil and rocks, mixed with other natural ingredients. Until the 19th century, sepia ink, extracted from the ink sac of cuttlefish, was common for most artists (such as Leonardo da Vinci) to draw and sketch. The advent of industrialisation brought the development of the chemical composition and distribution of synthetic pigments, which are mostly hazardous to the environment. My choice to use natural pigments derives both from the superior quality of these pigments and because of my environmental concerns. The natural pigments I use are non-toxic, mainly from mineral sources; occasionally, from botanical sources, some of which I did myself. I chose my suppliers based on the quality of their products and their work ethics. Nonetheless, I will still use previously acquired synthetic pigments.
I generally ship my work unframed, but you may contact me at firstname.lastname@example.org for a quote regarding framing services.
Artworks are very fragile. One of the key elements for an artwork quality to remain through the years is UV protection. UV light has a malign impact in all sorts of colours, synthetic and natural. Therefore, artworks should be taken directly to a professional framer. I recommend the use of museum glass, which reduces reflection and gives up to 99% UV protection; standard 75% UV-protected or 99% UV-protected plexiglass. In case you're placing your work in the vicinity of large light sources, these materials ensure you artwork's longevity. I generally recommend it to be framed in either a white or natural wood frame. In the case of paintings on cotton paper, I recommend the artwork to be framed with a border of 3cm, with the deckled edges of the paper visible - either with a simple, mat border of lifted, so it appears to float above the mat.
The colours of the artworks may vary from the way it appears on your screen.
I celebrate the small imperfections inherent to handmade work, and particularly with the recycled cotton paper, dimensions are always approximate.
All orders are carefully packed and shipped in a card box, except if stated otherwise.
I offer free standard shipping for unframed orders. Expedited Shipping is offered upon request. Please email for a quote.
I urge my customers to ship to a business location whenever possible, as packages may not require a signature. Lígia Oliveira will not be held responsible for the safety of your artwork once a delivery has been made.
There may be ocasional Border Customs charges added at the destination country; please note these are responsibility of the costumer. Costumers should be aware of any duties that may apply before making a purchase.
Orders are shipped to outside Portugal, but may be limited to some countries and may take longer to arrive.
I generally process your order in 2-3 days; you will receive an email with details upon purchase. Shipping may have some delays due to Covid-19.
Unfortunately at this moment I cannot accept returns nor perform exchanges of acquired artworks.