Ward put a 9/10 at the entry tier and left it there.
The Ask Is Lower Than The Score
Panel average came in at 9. Valentina called it exceptional. Ruby scored the execution impeccable. That puts this at the threshold where collectors start watching an artist, not the threshold where they pay for prestige. The 18×12 canvas is $129. That is under-priced for what the panel saw, and Ward knows it. He is building a name, not extracting margin.
Hard-edge geometry at this level of finish usually sits higher. The cantilever reads as impossible but rigorous – exactly the line Ward walks in all his structural work. Four colours, flat matte, architectural proportion: every decision visible, none of them decorative. This is the piece where someone who has been watching him stops waiting.
The Comp Set Is Narrow And Expensive
Geometric abstraction with this much control does not flood the market. When it does appear, it is either student work priced aspirationally or mid-career work priced at collector rates. Ward is in between. The execution is there. The catalogue is not deep yet. So the pricing reflects the risk: you are early, and that shows up as value.
The 24×16 canvas is $219. That puts two sizes within budget for someone furnishing a first serious room. The framed options run higher but stay under $400. Every size ships free in the continental US. No scarcity language, no countdown, no edition posturing. The work either holds your wall or it does not, and the ask does not add friction.
I Am Calling It Now
Buy. Not at a lower tier – at the size your wall takes. This is Ward proving he can deliver a 9/10 consistently, and the price has not caught up to the score yet. Someone who buys this in 18×12 will want the next one in 24×16, and they will have margin to step up because they came in under budget the first time. That is how you build a collector, and Ward understands it.
See the full piece and sizing at Printasso.
Gallery-wrapped canvas, in 3 sizes — 16×12, 24×18, 32×24 in. Ships free within the continental US.
