All artists need a friend who they can turn to for a critique of their work. A friend who will say more than “Oh that’s lovely”.
When I lived down south – my Artist’s friend was Linda – but now we live 100’s of miles apart. Although we still communicate about our work – it is not the same as being able to physically see the work and each other.
I have however, discovered a new “Artist’s friend” who has a creative eye and a good sense of what works and what doesn’t.
With this in mind – I took the “margarine goddess” (previous post) around to her house earlier in the week.
Unfortunately – (or fortunately) my friend told me what I knew in my heart of hearts – but what was reluctant to admit to myself.
“Karen the piece is lovely – but you cannot put it in that frame – it needs to be properly framed, with at least a triple mount”
I knew that. I knew that the piece was worthy of spending a bit of money on the frame to make it look a million dollars, but I had got myself into the mind set of doing pieces to fit frames I all-ready had.
It is not the first time this has happened, the framing bill for artists is a nightmare – you create the work, then get it framed, and then you may or may not sell it. This means you have very expensive “frames” sitting around the studio – which you have paid for.
Periodically I try selling work that is not framed, but a lot of people get concerned about the dust on unframed textiles or they don’t feel that they are buying “art” if it is not framed in a traditional manner.
Then – I make the mistake of seeing some reasonably priced, nicely made frames and buy them thinking – “Oh I can make something that will fit in that” and for some reason this rarely works.
Good framing makes a deal of difference. Good framing is when the textile and the frame work as one cohesive piece of art.
So am glad my friend told me the truth – and I envy my framer when I come to pay my bill for this batch of work.
The image above is a detail from another piece ….. that might fit in the now empty frame!