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Just back from the framers, a stash of paintings in the bespoke moulding I’ve designed and had milled to my specifications. Produced in tulipwood, it’s densely grained and deeply cut, making it much heavier than any of the commercial mouldings I’ve used. It looks good with and without glass, and because it’s been manufactured for me, it’s unique to my work. I’m greatly encouraged by the way this has turned out, and look forward to trying maquettes and prints in the moulding, as well as the drawings and paintings illustrated here. The paint finish is a neutral grey in starved-brushwork over red-oxide, my preferred colouring for frames.
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There’s no getting away from the fact that framing is an important aspect of presenting paintings, and although a magnificent frame cannot rescue a bad painting, a beautiful artwork can be undermined by the wrong type of frame. This particular design should mean that I don’t have to re-scale it for larger and smaller works, as the one size will do for all. This also means that in the matter of exhibitions, a body of work will be unified on the gallery walls by the one frame design. All the small painting shown here are for my exhibition on the island of Jersey next month, and were made as images for Marly Youman’s volume of poetry The Foliate Head, now available from Stanza.
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