The degree to which the imagination may seize upon a thing as the starting point for its own singular expansions, is a direct outcome of the thing’s balance between allure & allusiveness, and inaccessibility & exclusion.

It is precisely the unsaid in poetry or prose, the lacunae of meaning in their lines which is seized upon by our imagination, which adds an ineffable depth unique to each reader. Architecture can be similarly expansive through calibrated absence, through the combination of a strange form of appeal in a building or place -an alluring resonance in its form- which when combined with an inability to access its interiors or approach its walls, excites the imagination to such an extent, that it fills the unapproachable place with all the fevered speculations of a mind piqued by an unsatisfiable curiosity. The ancient Greeks and Hebrews made their temple and temples intensely visible, in fact omni-present in their landscapes and cities, and yet entirely untouchable -off limits- because they knew that the less people experienced something, the more inaccessible it was, the larger that thing loomed in the mind, the greater its aura became, the more people would dream at night as to what its interiors contained, the more they whispered amongst themselves tales of impossible grandeur and terrifying strangeness. In the ‘Island of the dead’ series Arnold Bocklin repeatedly painted a scene, an architectural-natural scenario which visualised an isolated place of loss, constructed of recognisable, ancient & elemental items, cypress trees, architraves, a wall, a cove, a ledge, all of which were however composed in such a way that they were de-familiarised, made strange, rendered as being entirely outside of our recognisable experience. The island paintings were representations of a notional, inaccessible place which existed only in the interaction between the curiosity piqued in the observer by the depiction, and the imaginative trajectories and narratives conjured up in the observer’s mind which were woven around Bocklin’s allusive imagery.

Delivery Policy:

Estimated delivery times specific to your order and location are provided during checkout, and vary depending on location and source of the specific product. Items are shipped within 48 hours in the US, UK and Europe, and 72 hours elsewhere. Delivery is within 7 days if the item is shipped from within your national borders, and within 2 weeks if international shipping is involved. Items are made at fulfilment centres located in the EU, the US, the UK, Japan and Australia, and are shipped internationally to all other countries (with some items to the UK, Australia and Japan coming from Europe and the US), with the longest delivery time usually being two weeks. Items are all shipped with tracking.

Please note that items are not held in stock and are fabricated on-demand every time an order is placed.

Orders are usually shipped within 72 hours.

Please note - if you are ordering from the UK and your order comes to a total of £135 or more you may be subject to import tax and duties that ANF Merch have no control over. These fees are your responsibility as the consumer.

Returns Policy:

If the item arrives damaged or with a production error, please send us a photograph of the item as soon as is convenient, and we will send a replacement. Your replacement will be processed and actioned within 48 hours.

We do not replace items ordered in error. However if you contact us within half an hour of making the order, we can cancel and provide a refund.

If there is anything wrong with your item, or it has not arrived for some reason, please make sure you contact us within 25 days. After this number of days products ordered from the site are no longer eligible for replacement or re-shipment.

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Contact merch@adamnathanielfurman.com for enquiries

Adam is a British artist & designer of Argentine & Japanese heritage based in London.

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