Hi, my name is John, proprietor of Woodpecker
Framers.
When you look at a work of art do you
notice what the surround is like? A
picture framers art rarely gets noticed
as much as the art work within it, but
as much trouble and time is spent on
the frame, which is there to enhance
the subject. I not only talk here of
artwork such as paintings, drawings,
prints, but also of frames for some
types of ceramics, decorative plates,
coins, cigarette cards, in fact you
can frame almost anything within reason.
The thing we are aiming for with artwork
(which from now on will refer to painted
and printed items) is for the art to
be framed and noticed but the eye will
not stray out onto the frame. Sometimes
you will see large canvases without
any frame at all. That is because they
take up the whole viewing area of the
eye and a frame would do nothing for
it.
Centuries ago, as you will have noticed
in museums and stately homes, with these
larger than life portraits they enclosed
them with very large and ornate frames
which did nothing for the artwork but
made very nice pieces of wall furniture.
These days we try to frame artwork so
that you look at it as a whole and not
two parts, the art and the frame integrate
into one another.
Conservation
There is more emphasis today in preserving
now for the future. All the materials
that I use are conservation grade, which
means that unlike the old days when
the acids in the wood pulp of backing
boards used to leach out onto and stain
the artwork mainly prints, watercolours
and documents, now that problem is prevented.
There are quite a lot of conservation
products on the market now, and there
are a lot of techniques to go with them,
which I shan't go into now.
Bespoke Framing
Needless to say the framing business
is well catered for, when it comes to
variety in the choice, of standard mouldings,
but there are a few framers, like myself,
who for certain artist's make bespoke
frames of unusual materials and sizes.
Before enclosing any artwork, I like
to discuss with the artist, if possible,
what alternatives there are. I can then
be happy in my own mind that every assistance
has been given in deciding what is appropriate
for that particular piece of work.
I am particularly lucky to work with
Georgina because I find that her artwork
is very challenging, she is a very prolific
artist, working in all mediums (and
some very unusual ones) she keeps me
on my toes and very aware of the fact
that I have to keep one jump ahead of
her in the ideas department. Which is
very much like trying to catch a tornado
with your bare hands.
I am pleased to be associated with
Georgia Originale Art as it
is a small cottage industry of select
artist's, and myself, working in Cornwall
for the betterment and improvement of
the artist's lot. JOHN
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