Envy
Bitter Regard
Upward regard that wounds. Another's having, felt as one's own lack. Contempt looks down and wants nothing. Envy looks up and still wants. The wanting is what does the damage.
The word
English took envy from the Old French envie, out of the Latin invidia, built on invidere: to look against, to see with ill will. The Romans tied invidia to the evil eye, harm done by looking. The gaze is in the word's bones; envy has always been an act of vision.
The feeling
It starts as attention that will not detach. Someone else's success sits in the field of view and your own situation quietly reorganizes around it as deficit. The body registers a tightening somewhere between hunger and insult. It is one of the few emotions that watches itself: you feel it, know it is ugly, and keep looking.
Against its neighbours
Admiration sees excellence and expands; envy sees the same excellence and subtracts it from itself. Contempt looks down and is finished; envy looks up and cannot finish, because the wanting keeps the object in view.
In the work
Two centres, lit unequally. The lesser one is where the viewer is standing.
No work carries Envy yet. The element is named and the table is not finished.
These prints carry its family.
How big, actually.
Drawn to scale against a person of average height. Every size is a 4:5 rectangle, the same proportion as the work itself, so nothing is cropped to fit.
Sizes are the printed image. Framed works add the moulding around that. Standard US shipping is free at every size.
Paper, or canvas.
Same image, same inks. What changes is the surface it is printed on. Tap either one.
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PRINT
Hahnemühle Photo Rag
The paper itself. A heavy 100% cotton matte sheet with a smooth surface, printed edge to edge with no border. Ships flat, or rolled in a tube at large sizes.
- Every size, up to 40 × 50
- You pick the frame
- Just paper and ink
- Needs framing to hang
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CANVAS
Satin poly-cotton, gallery wrap
Printed on canvas, then stretched by hand over solid wood. The image continues around the sides, so there is no border and no glass.
- Hang it the day it lands
- No glass, no glazing
- Real depth off the wall
- Up to 36 × 45
Series 001 numbers are shared across every size and material, and the certificate records exactly which object you own. Open editions carry no number and no certificate.
Framed, or not.
One frame, satin black, solid wood. We pick the moulding that suits the size and the material, so it arrives ready to hang. Tap either one.
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NONE
The work, as it is
A paper print ships flat or rolled and you frame it your way. A canvas needs nothing: it is stretched, wired and ready for the wall the day it lands.
- The lightest to ship
- Your framer, your call
- Canvas hangs as it is
- Every size
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BLACK
Solid wood, chosen for the size
Sealed, hung with hardware fitted, nothing left to arrange. Paper sits behind acrylic; canvas floats inside the moulding with no glass at all.
- STANDARD BLACK ⅞ in face · ¾ in deep · behind acrylic Paper, 8 × 12 and 12 × 18
- ALTO BLACK THIN 1⅜ in face · ⁹⁄₁₆ in deep · behind acrylic Paper, 16 × 24 and up
- BLACK 2 FLOAT ⅜ in face · 2 in deep · ¼ in reveal · no glass Canvas, every framed size
Framed work ships boxed with the hardware fitted. The largest sizes are sold unframed, because a frame that size can only travel by freight.
The list hears first.
Also in Corrosive
Where Envy sits Ev · CORROSIVE FAMILY
OPEN THE TABLECORROSIVE FAMILY75 NAMED · 5 UNDISCOVEREDTAP ANY CELL TO OPEN ITS PAGE
