Wednesday, September 9, 2015

The scary part, mounting the work

As I find frames a distraction I have developed a system for exhibiting which involves gluing work onto a painted board, leaving it weighted down with large, heavy, encyclopaedias until “set” and then cutting around the work so that it is flush with the edge of the board. After that I spray the work many times with a matt spray, to protect it from the elements, and attach a hanging wire. I am sure that the work would not suffer if there were fewer applications of the matt spray but, as ever, I err on the side of caution. It would be terrible, after all, to sell work and find that it had been attacked some sort of paper chewing bug in its new home. 

While I have mounted many pieces of work in this way I still find the process rather nerve wracking. After all I don’t want to ruin something that I have slaved over for many hours by finding that there are bubbles in the glue or that the edges of the paper are burred because the cutting knife was not sharp enough. Consequently every new body of work is viewed with trepidation when it comes to the time to put it all together for an exhibition.

Since I have an exhibition coming up in October I am currently in the “mounting” phase. I have mounted about 18, 30 x 30 cm collagraph and lino prints without incident and need to start on the series of smaller monotypes I have done. I meant to do them this week but have been procrastinating, working instead on entries for a group exhibition involving the design of wine labels.