How you preset your artwork for exhibition is so important. The kind of frames you choose can greatly impact how your work looks, especially in a gallery setting. Wood frames in pale woods like birch or maple, and aluminum frames for photographs are standard for many artists. For many years I have adhered to a framing formula. Typically, I choose a box frame in black for landscapes in oil, where the black color really accents the liminal times I depict. I love the clean, modern look of floating frames in white for encaustic paintings, so you can view a bit of the edges of the work.
The act of framing a piece is also committing to the fact that the painting is ‘done’. It is most economical to build your own frames. But my space and carpentry skills are lacking, so I purchase frames and it can be a struggle to find affordable frames of a good quality. It helps to choose consistent sizes for your paintings, so if you find a good frame source you can buy in bulk at a discount.
However, unless you are installing a solo show, choosing frames on one color can eliminate one way of enhancing your artwork. When I work with a professional framer, it is always a fun experience to spend time choosing the best frame and sometimes matte color that really brings out the color palette of the painting. I also really appreciate suggestions for different frame styles from professional framers. They see potential combinations I might overlook, that perfectly enhance a painting. There are also art collectors who prefer to frame works themselves, so they can choose a style of frame that works with their aesthetic.
Placing a painting in a frame gives some protection to the edges and helps prevent chips or rubbing of the paint. But I am at a point now when I am considering leaving my encaustic paintings ready to hang, but unframed. This does save funds, which is a bonus for all struggling artists. But I also think it can work really well, especially for more abstract paintings. When I frame encaustic paintings, I always find it a bit sad to cover up the edges, because I love the layers of colors the have dripped down the sides. The sides of the painting can tell their own story about the composition. Seeing drips on the edges also makes the process and nature of painting more visible.
I’m hoping that leaving the edges exposed adds more dimension to the finished painting as well as a view of the painting process.