When creating work for an exhibition I feel there are thoughts that are both site and audience specific and as such it is hard to make an outline of how an exhibition could pan out. I would like to attempt to describe how I have been making decisions in advance that should both allow for the works to be shown and sold.
I mentioned early in the folder about a want to create the pieces (or artworks) in advance of being given opportunities to exhibit and sell. This is something I stand by and have been moving forward with by both making the prints myself and beginning to make decisions about presenting the work. I had already learnt the basics of frame-making off my dad in the past and have spent some time researching and learning new techniques. My frames for the MPF were a last-minute botch job, quickly made with cheap materials. This is not to say they looked this way, I was happy with the way the exhibition panned out, but I do not believe in last minute rushing. With the smaller size edition of prints from Folly already well under way and the larger sizes coming soon I wanted to start considering putting frames together ready for any future exhibitions or potential sales of the works.
Following with my work stylistically and ideologically I have an idea of dark wood or black wood frames for the Folly work (whilst also putting together white stain versions of the same sizes if it is required by specific spaces). I’ve considered woods such as black walnut or dark stained ash as a cheaper option. I then intend to make these by hand using a method involving a dowel and not underpin. Not only is this the most archival method of creating a frame but the visible lighter wood dowel in the four corners of the frame reference the hand-made and craft. Another option I am trialling is charring an ash frame with a flame-thrower (I get to use a flame-thrower!). This creates a really interesting black wood frame I am excited to see alongside the Folly prints. Once a full edit from the series is framed this can then be kept and exhibited at multiple venues.
These types of frames would be costly to produce if paying someone however by only paying for materials and using my own labour, I will keep the price very low. Even so I must consider my time as money and as such resale (if these would even be used for resale rather than just exhibition purposes) would be a higher amount of money. Another question raised from this would be around not taking onus away from the work itself, something I believe strongly in. The frames I am describing are subtle, thin and with the exception of intrigue around the black charred frames, not something that would take too much attention away from the image itself, just complement it.
If I was to choose how to present the work I would try and make the images play off each other, creating a sequence or block of images that felt like a conversation on the wall. Each image would be framed as roughly described above and once the work is fully realised, an artist book of the work could be included. I would love to see how curators would choose to show and present various images from the series, my aim is to make a body of work that could be shown in a number of ways with different selections of images but still be coherent and successful.