Framing Consultation and Oil Painting

Having completed 6 of the smaller canvasses, I started work on a larger one and managed to finish most of it today. Considering how this larger canvas went, I think that the transition to the very large canvasses is going to be a welcome change. I knew it was necessary to start with these smaller surfaces so I could troubleshoot any issues on a smaller scale before working on the large surfaces. I’m excited to have a higher proportion of space to the figures in the paintings. The figures may not be painted any larger on the large canvasses, but the amount of space surrounding them should rise exponentially. It’s interesting because similar to the digging series, I am noticing that I am slowly losing interest in the figures. They are certainly a crucial component to this series, but I am finding myself to be conceptually more fascinated by the open space and the tracks of shadows. On the other hand, in terms of execution, painting the shadows makes me crazy because it requires such a high degree of detail and steadiness in my hand that the figures simply don’t need. So now the only hurdle that stands between me and the studio visit is finishing 1 large( 4′ x 6′) canvas. I guess it’s acceptable to not have all of the large canvasses finished for the studio visit, at least if I have one finished then I can show where the project is ending up.

This afternoon I spent a solid 2 hours working with my framer on frames for my upcoming exhibition. I trust my framer 100% to give me the best possible presentation, and it certainly put me at ease when going through this process. I can’t imagine putting together a show and not having a good framer to back me up on every detail. Frames to me are so interesting because when they are done well, you almost don’t notice them because they are supporting the artwork without being distracting. On the other hand, when frames are poorly done sometimes I think that’s all I can see in the artwork. Together we opted in favor of creating a cohesiveness to the show, so that the exhibition would not look fragmented. I felt this was especially important because there is quite a range in terms of size throughout all of the prints. We came up with this one black frame that has a beautiful silvery antique inside. To me this was the best of both worlds: the antique area helps to highlight the tones in the prints, and yet the black on the outside of the frame allows for a classic look that is simple and bold. We debated using frames that only have the silvery antique color, but I felt in the end that the black was really necessary to hold everything together. The other advantage is that this particular frame comes in a small size and a large size, so that the size of the frame is appropriate to the size of the artwork. We also went for 1 matt for the entire show, despite the fact that many of the prints are printed with different papers. For me, it cemented that this exhibition is real and that it’s going to happen very soon.

The frame we chose for the Danforth Museum exhibition.


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