Wall Gallery really had a fast turnaround time for getting the new frames done. First, the area where my work hangs. This is such a fuzzy picture, or maybe it’s my tired eyes. The pieces look good among this group of artists, I think. To the left of the door is Door (ha ha). It’s sandwiched between two sheets of acrylic.
I’m sure everyone knows how difficult it is to take pictures of reflective material, so I’m going to ignore that. You can see how there are white “nails” holding the sandwich together. This method is the less expensive method of framing with acrylic.
To the right of the door is Path to the Sun, which is mounted on linen and framed inside an acrylic box. You can barely see the linen, but it’s a natural color. No one was asked to make a decision on that, but next time, the gallery and I both think that white would be better, similar to most gallery walls. We all prefer this method of framing, and of course, it’s the more expensive method. Since I have been researching methods for mounting for several months, I was not surprised to find out that itty bitty stitches were used to stitch the piece to the linen. Those stitches are not in just one section, but all over
Since I posted last week about the show I’m not going to in Atlanta, I feel better about my decision.
It’s all about that trusting your gut thing. Several people have contacted me, some who have actually lived in Atlanta, and told me I made the right decision. So, on to new things!
After a few days of travel, I am going to come back home and do a couple of small weavings on the big loom. Although I am much happier weaving on the Mirrix, I still just enjoy the big loom better. I think it’s the rhythm I get into there, and that might come on a small loom too, given more practice.
So, what’s on tap next? I’m going to weave two-at-a-time faces. They may not be successful at the sett I use normally, but I can certainly stop and move on to something else. The other studio task ahead is how to mount a small piece more successfully, namely the weather pieces. I am definitely not happy with the presentation below.
Side view of gallery wrapped canvas with fabric stapled on to it. West Texas Snowfall sewn onto the fabric.
In Kirsten Glasbrook’s book, she shows how she finishes and mounts shaped pieces by sewing the piece onto a piece of linen, and then stretches the combined linen and tapestry over a piece of block board. I had never heard of blockboard, so had to look it up–here’s a page with pics and definitions. I think I’ll try a thin piece of plywood. Masonite might work, but it’s a dark color. Don’t know about that.