FRAMING TEXTILE ART

"Residential Curve"  16" x 20" framed, Lori LaBerge  2017

Framing can make a difference in how art is perceived. Unlike paintings, which can be simply placed into a frame, framing textiles can be a bit more complex. I have been framing works open for a few years now and the tides have changed. More people are asking for work protected by glass or acrylic and over 90% of sales the past year have been pieces under acrylic .  

Some of my latest work will be placed in an office environment. Cleaning and wool dust can become an issue. Two hospitals decided against open work due to the dust and allergenic problems. Unfortunately, the work could not be reframed under acrylic in time for their scheduling. Results: lost sales and framing under acrylic for future sales.

There is the perception of textile art being difficult to care for. I have found this to be true depending on how the work is made. A mixed media work I purchased with quite a bit of bulk to it and nooks and crannies between tied rope does require a lot of upkeep as dust gets trapped. The rug hooked works I own require a lot less upkeep. I simply use a lint roller and it cleans them quite nicely. Glass or acrylic can eliminate the problem, though these works should still be removed from the frame and cleaned every 2-3 years.

"Skybridge"  16" x 20" framed,  Lori LaBerge  2017

The works shown here have been stitched to acid-free foam board before being placed in the frame. An acid-free mat board has been used and uv acrylic placed on top. The frames have a 1" rabbet (the depth of the back of frame where work sits) to allow for the depth of textile work and setting it back so as not to touch the acrylic.

When setting the work back from the acrylic, foam board was cut in the shape of the mat board, though narrower, and placed behind the mat board to create depth. 

Acrylic can be static which causes problems with wool. Remove any wool bits or dust from the work before framing (this is time consuming as it sometimes needs to be repeated during the framing process, don't skip this step as wool dust on a mat board looks unprofessional). There is acrylic cleaner that can be used to minimize static (I use Brillianize Plastic Cleaner). Use a microfiber cloth when applying cleaner or dusting the acrylic to prevent scratches.

Note: Always take photos before glass or acrylic is installed if possible. This prevents glare.

 "Downtown"  16" X 20" framed,  Lori LaBerge  2017

Whether one decides to leave a textile open or place under a protective cover is an individual decision. Present work to show it off at its best. If similar works (such as a series) will be exhibited together it is best to frame in a similar way for cohesiveness.

COMPLETED TEXTILE AND A PAINTING STUDY OF GEOMETRIC FORM

"Maine Gold"  14" X 11"   Lori LaBerge  2017,  wool on linen

"Maine Gold" is now ready for framing. The circle triangulates the whites and helps to anchor the work, giving a focal point. The repetition of diagonals contrasts with the straighter lines. Architectural forms in landscapes and buildings seem to be the direction future work is headed.

"Mulholland"  study 18" X 18"   Lori LaBerge  2017, acrylic on canvas

The second half of the week was spent playing with shapes by working with acrylic paint on canvas. When we visited our daughter in Los Angeles in May, we took a ride on Mulholland Drive. The contemporary homes with their curves, rectangles and other geometric shapes have stayed in my mind. This work was done from memory.

This soft mix of teal, green and yellow would look beautiful dyed on wool.

"Mulholland" was used to experiment with various textures using both brushes and palette knives. While I love the composition, this piece would present better in a smoother finish that would leave the focus on the geometric forms. It is a good study for development of a larger more finished work.

A visit to the Farnsworth Museum and seeing the Andrew Wyeth exhibit of studies showing both his painted works and sketchbooks has influenced me. Composition, line and shape are a larger part of my research now.

TWO WORKS SAME DESIGN: CREATING A DIFFERENT FEELING WITH COLOR

"Side Streets 2",  20" x 20"   Lori LaBerge  2017

To those who regularly read this blog the piece above may look familiar. A piece using the same basic design, "Side Streets", was done last year. Here is the first piece:

"Side Streets",  20" x 20"   Lori LaBerge  2016

I rarely use the exact same design more than once. Yet, I kept wanting to revisit this work using industrial felt. This led to a more subtle version. The first version, directly above, used a brighter orange, a pure slightly outrageous yellow and a bright white stripe. It has been sold and placed in a modern environment surrounded by other colorful artwork. There is a sunny, happy, almost childish feel to it with the yellow drawing the eye.

Close-up of "Side Streets 2"

The latest version at the top of the post has a more sophisticated feel to it. The gray felt blends with the background grays, leaving an orange one shade deeper more room to stand out. Stitching on the washers follows the direction of the felt, the longer piece horizontal and the shorter piece vertical. Copper paint was used on the washers to further emphasize the orange. The felt is randomly stitched in black so it won't stand out but be noticed when viewed from a closer position.

Art exercise--

Revisit previous works and draw them out in various colors. How does the feel of the work change? Do you have preferences? Has your use of color changed over the years?

ABSTRACT: RUG HOOKING, PAINTING AND DESIGN

"Cone 2", hooked section completed 18" X 18",  Lori LaBerge  2016

This was a week filled with abstract work. The background was hooked into "Cone 2". The contrast of the dark grays against the yellow and greens and the light gray against the rust and browns works well.

Dark gray will be whipped along the dark edges and dark brown against the light edges. Metal bars are cleaned and ready to be painted this week. They will be attached to the work after the whipping is complete.

"Night Light",  acrylic on watercolor paper 15" x 10" , Lori LaBerge  2016

I am continuing to pursue various media in my spare time or maybe I'm just working all the time and don't realize it.

The work above developed from an abandoned house nearby. I saw it during the day, but switched up the painting to imagine what it would look like at night. The leaning columns were what drew me to it. They provide great negative space behind them.

Design for textile works was also on the table this week:

 "On a Roll", design  24" x 12",  Lori LaBerge  2016

I am thinking of hooking realistic spheres on this one rather than flat circle shapes, as if they were wooden balls sitting on shelves.

"Unstill Life", design 24" X 12",  Lori LaBerge  2016

This work shows how you can use the same basic composition to create totally different works.

It follows some of the basic lines "On a Roll" does. If you look at both works you can see the top line of the bowl on the left follows the shelf with the largest ball. The bowl on the right has its height at the shelf of both the smallest ball and the ball on the far right. The arrow arcs up through the largest ball over to the upper right ball's shelf. 

Art exercise--

Choose a basic composition and see how many various designs can be created from it. This is challenging. You may want to start with a simple "L" shape.