To frame or not to frame?
Historically, an unframed painting was considered incomplete. Frames were used to enhance the work, separate it from the wall, and add additional support by preventing the stretchers and canvases from warping. We’ve all seen those HUGE ornate gilded frames in museums.
Traditionally photography is framed in simple black, natural, or white frames so that the frame doesn’t overbear the image. The images are usually matted and placed under glass.
In modern times this notion of a work being incomplete has faded and as artists we have an entire array of framing options and artistic choices available.
One of the reasons I’m drawn to encaustic as a medium is that it doesn’t need to be under glass. I love the textured surface and frequently invite people to touch and feel (and sometimes even smell) the texture of the work.
I have a lot of students who love the organic feel of the wax dripping down the sides and are quite intent to leave it at that. I personally love this look and feel, but 
rarely leave my work finished this way. It’s my practice to paint the sides of my cradled boards with a dark brown paint and scrape sides clean of wax when I’m done. I’ve found that it’s a huge hassle to repair the lovely drips if they become damaged, they are more difficult to frame, and many, many people (usually the non-artist types that we are selling our work to) don’t love the drips as much as the artist does. It feels unfinished to them. It was during the mid 20th century the display of unframed canvases became trendy and acceptable, which I’m very thankful for as much of my work is unframed.
When framing work it’s imperative to protect the surface of the wax. Never place a frame directly upon the wax. If you like the more traditional look of a frame coming slightly over the image make sure that there are spacers build into your frame and the frame does not touch the surface of the wax.
Most encaustic artists use ‘floater frames’ which are available in a number of styles, heights, and depths. The art is attached to the back thus allowing for a variable space between the art and the side of the frame. It’s your choice how far back to set your work just make sure it’s far enough to protect the entire face if laid face down on a table.
When I do frame my work I use floater usually leaving ¼ inch gap between the frame and the work.
But it’s common to also have the frame almost butt up to the piece.
Framing your piece (or finishing it) is a way to honor your work. Of course this means different things to different people. One of the ways I honor my work when I need a frame I invest in having the work professionally framed. Nash Frame in Minneapolis is my ‘go to’ for all my framing. I’d rather concentrate on what I do best, which is create the work.
One of my all time favorite frames was for a small 5×5 piece done on a thin 1/8 inch board. I really wasn’t sure what to do with it but with the help of Mongtomery at Nash Frame we created the most beautiful little floater frame you see above, by mounting the piece on a backing board and choosing a frame with a slight ‘swoop’. It’s one of the sweetest little pieces I’ve ever done.
But don’t stop here. There are tons of non-traditional ways to frame and present your work if you use your imagination.
I’d love to hear from you in the comments below. What non-traditional ways have you chosen to frame and present your work?
Be well….be creative,
Very interesting article, especially since I am deep into framing several pieces. I feel like I fell down the rabbit hole of more creative options! It is quite the eye-opener to learn that framing is an art unto itself. Ah! Another learning curve. Thanks for sharing your insights.
Couldn’t agree more Debra. Framing is an art unto itself.
To me, it depends on the work that I am presenting. I really like the floater frame which I have done with canvas pieces. Like encaustic work, the canvas doesn’t really need glass. Actually glass can be more of a hindrance to the viewer.
I’m just finishing one with a floating frame with a little space between the edge of the piece and the frame. There are also the times where I have deckled the edge of a print and floated it within the matt. Subtle detail can really add to a presentation.
Lately, I have printed on hardboard and the edge of the print is such that a frame is not needed. If the hardboard is thick enough you can paint the edge, called a standout mount. For encaustic, I really like to see the dripping on the edge, but it depends on the piece. I especially like Clare’s 5×5″ frame above. I have a few encaustic pieces that I am going to have to try using that type if technique.
I agree strongly with Clare about using a professional framer. It gives more time to create and you can still direct the framer as to what you want and be collaborative. My favorite place to have my work done is “Hang It” in Minneapolis. Get to know your framer.
Hi John, yes, standout mounts are another great way to display encaustic work! As with everything, it’s in the subtle details that really set a piece apart.
Clare….you mention that the piece should not touch the frame…why is that?
So that it doesn’t get damaged. Anything touching the wax has the potential to damage the surface.
Thank you for the lovely post. Framing options is something I have not given much thought. I am thinking that when my “off spring” go out into the world, perhaps a note re: their care might be a nice touch.
Absolutely, with every piece I send a note along with how to handle and care for encaustic work. There are still many people who don’t know anything about encaustic and thus need some guidance on how to take care of it.
I’m late to this post since I was away on vacation…Thanks, Clare I enjoyed it very much! Every year I go up to Cape Cod on vacation and always check out the different galleries where I stay in North Truro as well as nearby Provencetown and Wellfleet. This year in Wellfleet I saw quite a few encaustic pieces…all framed mostly in floater frames. There were some small pieces like 4×4 and 5×7 the frame gave them more significance especially if there was more than one piece hung together. Love the example above, it’s special.
Late to this blog post, but framing is something that I’ve been thinking about lately. For the work I’ve done on cradled boards, I decided to make the sides part of the piece, covering with various papers and wax. I was wondering what to do with work done on flat encaustic board, so it’s great to hear/see how your small piece was done – simple but very effective.
Framing is a whole other art form … so many options to think about and decide upon!
Love that you have decided to make the sides part of the work. That adds such a great dimension to a piece. One of my students recently was siding her pieces with copper. It looked phenomenal with the piece.