Frame Making

I originally started to build my own frames out of necessity, simply to protect and archive artwork, but now, it has become an integral and important part of completing each piece. As an artisanal aspect of my work, the hand should be referred to, not hidden. I want frames that do not seem mass-produced, but have a handcrafted feel and a simplicity, like one sees in Shaker furniture. Over the years I have experimented and changed my framing methods but have always used acid free, archival tapes and mat boards, and continue to cut the wood stock myself and build individual frames for each piece. In 1987, I worked for a year in photographer Kimberly Guy’s professional framing shop in Marin County and learned a number of new techniques. Currently I create a shadow box for works on paper, in which the piece floats on top of a mat, allowing the full edge of the image to be viewed. As frame stock, I use Douglas fir for its warm golden, reddish color, which subtlely darkens after several years. It’s easy to work with and grows faster than oak, which makes it more ecologically friendly. It’s also what forms a big part of the forest surrounding my studio on Diamond Mountain. I finish with multiple coats of Tung oil, which dries more easily than varnish, and ultimately gives a soft, sensual, tactile feel to the frame.