Eighty-nine dollars is where a geometric print stops being decorative and starts needing to be worth looking at.
Ward charges for the calculation
This is structural chromatics done properly. The cantilevered forms lock into place with architectural precision – edges meet at exact intervals, colour blocks sit flat without gradient or texture, and the impossible balance reads as deliberate rather than accidental. That rigor is what you are paying for.
The composition uses a restricted palette: ochre, rust, cream, and slate blue. Each block carries equal visual weight. No hierarchy, no focal point, just structure that should collapse and does not.
The 18×24 format at 300dpi ships as expected for this tier.
The edition model is standard
Ward is working in series, which means this piece sits within a recognizable body of work rather than standing alone. A buyer who follows him can see the progression – the structural vocabulary stays consistent while the colour logic shifts. That continuity matters at this price. You are not buying a single image; you are buying into a system.
The market for hard-edge geometry at sub-$100 is crowded. What separates Ward is the architectural thinking. This is not decoration shaped like structure. It is structure first, decoration second.
Buy at this tier
The execution justifies the ask. Ward delivers exactly what structural chromatics promises: impossible forms rendered with enough precision that the eye believes them. At $89, this works.
See the full piece and Ward’s other structural work at Printasso.
See Cantilevered Without Support →
Matte fine art poster, in 3 sizes — 11×14, 16×20, 18×24 in. Ships free within the continental US.
