Pejac So Far, So Close: the layered-paper edition

So Far, So Close was released by Pejac’s studio on February 23, 2022 as an edition of sixty. The 110 × 80 cm work combines a single-colour, hand-pulled photopolymer image with a hand-coloured monotype. Korean Kozo mulberry paper sits on a 300gsm Velin d’Arches cotton-paper support, and Pejac adds finishing in acrylic paint and pencil. The artist signs and numbers the prints; the official archive now records the edition as sold out. Read the studio specification.

The two-paper description is essential to identifying the edition. Describing it only as a print “on Kozo” omits the backing support and the monotype component. Those details distinguish the physical object from both an ordinary reproduction of the image and other editions in which Pejac uses Japanese or Korean papers.

A close predecessor with a different construction

The Boss, released in October 2021, provides the closest documented material comparison. It is a single-colour photopolymer on Korean Kozo, but the support is 300gsm Zerkall Artrag handmade paper. Its run is forty and its dimensions are 106 × 77 cm. So Far, So Close adds the hand-coloured monotype and acrylic-and-pencil finishing while changing the backing paper and expanding the sheet. For a collector checking a listing, “Kozo photopolymer” is therefore a starting point, not a complete edition identity.

A second comparison is New Wave, released in December 2022. It shares the sixty-copy denominator but uses seventeen hand-pulled silkscreens and silver leaf on a square cotton sheet. The shared year and edition size conceal a substantial shift in production. A collection organised only by date and print number would lose that distinction; recording the process and support allows these works to be compared on their actual construction.

Keep the delivery record separate from the image

The studio specifies a custom-made wooden crate for So Far, So Close and a certificate to be issued six months after purchase. The Boss has a similar delayed-certificate arrangement, so a certificate’s later date is not by itself evidence of an unrelated print release. It should be assessed alongside the original purchase and edition details.

The dimensions quoted here describe the work, without a separately documented framed size. Someone planning a display should ask for the dimensions of the actual framed object rather than adding an assumed border to the archive figure. Likewise, a later offer should identify the numbered print and its condition directly. The studio archive does not document the condition or completeness of a later seller’s copy. Its specific construction and delayed-certificate terms provide the reference against which that offered example can be checked.