Settled Presence
Settled Presence is a square detail from the North Dakota Badlands, captured at high resolution. A single rust-red scoria stone rests on pale bentonite clay, with water-carved channels running down the clay face beneath and behind it. The stone is about the size of a dinner plate and the ground around it has been leaving for centuries. At scale, a small thing becomes a monumental one.
Available as an open edition at the smallest size, and as a hand-numbered limited edition at all other sizes. Choose between archival print, traditional framed, or the artist's preferred presentation: a face-mounted gallery acrylic, framed or unframed. The acrylic is a custom-selected formulation with anti-reflective optical clarity, UV protection, and abrasion resistance, chosen after years of research to honor the image with the best mounting substrate available. Two artist proofs exist at each limited edition size. One is reserved for the artist's collection; one is available for purchase here.
All prints made-to-order in the USA
All prints made-to-order in the USA
Captured with high-resolution systems
Certificate of Authenticity included
All prints signed & numbered
Each image in the Signature Series is available as a signed limited edition. Edition counts decrease as size increases, reflecting the rarity of larger works.
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Free shipping under 48" to the contiguous U.S. Custom freight quote for 60" and above provided within 5-7 business days. Hawaii, Alaska, and international orders will receive a freight estimate within 5-10 business days.
Settled Presence
Held In Place By What Surrounds It
How It's Made
A lifetime of craftsmanship in every choice.
Every Signature Series piece is produced one at a time by master craftspeople I have personally vetted and worked with for years. Whether you choose archival print, traditional framed, or one of the gallery acrylic options, the underlying commitment is the same: museum-grade materials, archival lifespans rated beyond a century, and finishes refined over decades of professional practice. Every decision has been considered. Nothing is mass produced. Nothing is approximated
Built to Last Generations.
Every print in the Signature Series is produced on museum-grade archival paper using pigment-based inks rated for over 120 years under normal display conditions, the longest archival lifespan currently certified for inkjet printing. The same standard applies whether the print is finished as an archival paper print, a traditionally framed work behind UV-protective acrylic, or face-mounted as a gallery acrylic. The materials are the foundation of everything else.
Hand-Finished, Built to Order.
All framed pieces use hand-cut Italian wood profiles, finished by master framers in the United States. The Studio Flat, Studio Contour, and Italian Signature frame options include a hand-applied white linen liner that softens the transition between image and frame edge. Traditional framed pieces are produced by archival framing specialists in Tennessee; gallery acrylic framed pieces are assembled by acrylic master printers in Nevada. Different shops, same standard. Nothing leaves either facility without passing detailed quality review.
Authenticated by the Artist.
Every limited edition piece is proudly signed and numbered, ensuring rarity, collectability and that your art piece passes my strict standards. A Certificate of Authenticity accompanies every order, documenting the edition number, capture details, production materials, and date of issue. Open edition pieces are signed but not numbered.
Crafted Specifically for You.
Nothing in the Signature Series is pre-printed, warehoused, or mass-produced. Every piece is built one at a time once your order is placed, with a typical production timeline of four to six weeks. This is slower than what most online art sellers offer, and that's the point. Each piece is a deliberate, custom-crafted masterwork - made for the wall it is going to live on, for the buyer who chose it, for the transformation it is meant to create.
Specifications
The details.
- Title
- Settled Presence
- Artist
- Chad Ziemendorf
- Collection
- Signature Series
- Subject
- Scoria on bentonite clay, North Dakota Badlands
- Aspect Ratio
- 1:1 square
- Capture
- High-resolution digital capture
- Available Sizes
- 30x30 through 60x60
- Edition
- Open edition at 30x30. Limited edition of 35, 15, or 10 (descending with size) at all larger sizes. Two artist proofs per limited edition size.
- Treatments
- Archival print and traditional framed at 30x30 only. Gallery acrylic (unframed or with one of four frame options) at all sizes 40x40 and larger.
- Medium
- Archival pigment print on museum-grade substrate
- Frames
- Hand-cut Italian wood profiles, US-finished, with linen liner on three of four frame options
- Longevity
- 120+ year archival rating
- Authentication
- Signed and numbered by the artist. Certificate of Authenticity included.
- Production
- Made-to-order in the USA, 4-6 week lead time
- Shipping
- Free shipping under 48". Custom freight quote for 60" and larger within 72 hours of order.
Held in place by what surrounds it.
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More From the Signature Series
If you have any questions, you are always welcome to contact me. I'll get back to you as soon as possible, within 24 hours in most cases (unless I'm traveling for a shoot). In the meantime, here's some answers to the most-asked questions.
- Chad Z.
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Framing & Presentation
Every piece is offered in four presentations. Archival Print is the unframed paper print, available at the smallest size in each ratio. Traditional Framed is that same print, matted and framed and ready to hang. Gallery Acrylic is a face-mounted acrylic, unframed and ready to hang, and it is the presentation the limited editions are built around. Slim Float adds a satin black float frame, Studio Contour adds a subtle contour frame in satin black with a linen liner, and Italian Signature uses a luxury Dark Ash frame with a linen liner. The linen liner is my preferred presentation, and if you would rather go without it, the price does not change. Say the word when you order.
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Choosing Your Size
It's easy to underbuy. A piece should span roughly two thirds of the wall or the furniture it hangs above, and the center should sit near eye level, around 57 to 60 inches off the floor. Measure the wall before you choose, not after. If you are between two sizes, I recommend the larger one. At scale the horizon does the work and the room widens, and that effect is the entire reason to own the piece. If you want help deciding, send me your wall dimensions and a photo of the space.
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Production & Delivery
Every piece is made to order. Production takes four to six weeks regardless of size or presentation, and shipping time is added to that.
Shipping is free within the United States on panoramic pieces up to 48 inches on the long side and square pieces up to 50 inches. Anything larger ships freight. I will send you a freight quote within five to seven business days of your inquiry, so reach out before you order at those sizes and I will have the number ready.
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Open Edition vs. Limited Edition
Each image is an open edition at its smallest size and a hand-numbered limited edition at every size above it. Edition counts descend as the size increases, so the largest pieces are the scarcest. Two artist proofs exist at each limited edition size. One is reserved for my own collection and one is available for purchase.
Every limited edition piece is signed by hand and arrives with a certificate of authenticity recording the title, size, edition number, and date. There are no digital signatures on anything I sell. When an edition sells out, it is gone. No reprints, no reissues, no exceptions.
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Returns & Damage
Because every piece is made to order for you specifically, all sales are final and I do not accept returns.
Damage in transit is a different matter and I will make it right. Inspect the packaging and the artwork within 48 hours of delivery. If anything arrived damaged, photograph both the damaged packaging and the damaged piece and send those images to me, and I will issue a replacement. The photographs of the packaging matter as much as the ones of the print, because that is what the freight claim requires.
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Care & Display
Acrylic face-mounts clean with a dry or slightly damp microfiber cloth and nothing else. Never use glass cleaner, ammonia, or alcohol on the surface, and never a paper towel. Framed paper prints need only occasional dusting.
Hang the work out of direct sunlight. The materials are rated to last more than 100 years, and keeping harsh light off the surface is how you get all of it. Large acrylics are heavy. Mount into studs or use anchors rated well above the piece's weight, and ask for the weight before you hang if you are unsure.