Until my second show at Waverly Heights, I had never realized that it is standard procedure for many artists to frame their work generically or inexpensively with the expectation that the buyer will reframe the work to suit their tastes. I had never considered that option, so for me, framing began as a necessity. Furthermore, because the work inside the frame is so delicate the idea of a buyer or framer handling it is an upsetting notion. Through the years the necessity has stayed the same, but the process has become so essential to the work itself that I don’t consider a piece finished until it is backed, matted, framed, and the brown paper sealed on the back. The framing process can often be the most difficult, but it can also certainly be the most rewarding as it’s all that stands between a stand-out piece and one that stays in flat file on show day.
I typically maintain that unless there is a flaw in the selection or finishing process, there is a lid for every pot when it comes to selling. I’ve said before, and it’s true, I’m more concerned with achieving a positive reaction than a sale. If people seem to love a piece, but it appears in show after show, I’m rarely concerned. I love to show the work, and if it takes years for the right person to see it; so be it.
There are some conditions under which I will reframe work, however. For example:
If it is with me so long that my taste evolves…
I find the original materials aren’t up to my current standards…
If I selected a frame simply to “get it on the wall,” but was not committed to it…
Something about the piece just bugs me…
My mom has worn me down (and stylistically, she’s usually right)…
Glow (the mason jar below) is backed over a beautiful hand-made metallic paper. It has a strong shimmer and I felt it stood out more on simple backing surrounded by a simple, shabby-chic frame. Three shows later, my mom convinced me that contrary to it’s name, it looked dull, and that sometimes, “shabby-chic,” is just shabby. Glow was re-backed with a muted gold/silver patterned paper, hugged by a black mat to accentuate the lid detail, and finished off with an unusual vintage frame that is true to the name of the piece.Keepsake is a beautiful cutting that was unnamed and unceremoniously framed in an inexpensive black frame to “get it on the wall,” of a previous show. It’s very simple, but very lovely and because I’ve passed the point where I accept tchotchke frames, I reimagined it. So much like a bunch of vintage pressed flowers, a keepsake from a memorable moment, it is perfectly surrounded in a “locket” made from black-cored white mat with an oval opening. The gold frame gives it a classic quality.The Carousel was a re-frame trifecta. First of all, my mom disliked its original frame from day one. She thought it was of poor quality (I disagreed), and that it wasn’t big enough for the piece and therefore made it look cramped. I loved the frame, but as is typical of me, I hand painted the background without measuring the dimensions, hence the black top and and bottom where the paper wasn’t long enough. I convinced myself that I liked the unfinished look of the paper and moved right along. So, (1) my mom wore me down, and once I thought more about it I realized the frame, while strong, wasn’t up to my standards (2), and the size and layout just bugged me (3). We found a gorgeous molding from Merion Art & Repro, had it built, had a wide white mat cut to put the focus on the cutting, and voila: A delight for the eyes.
CookePapercutting 