How do I hang my artwork?
How do I hang my artwork? The simple answer is however you want. But, below are a few things to consider.
What story do you want to tell?
As individuals, we bring who we are to the art. Yes, we read the artist statement and background of a particular piece, but ultimately we find meaning at the intersection of the artist's intentions and our personal beliefs.
In Susan Lee-Chun's Untitled (Take my set of keys, #1), the enlarged set of keychains explores race, interdependence, history and controversy with a splash of humor. Pushing the parody to its limits, consider suspending the work not from a nail, but from a hook like you'd see on a key rack near the front door. Identity: wherever you go, there you are, right? But if you're a Kung Fu film aficionado, the work may be better suited for an acrylic case, a pedestal or paired with complementary collectibles. In this context, Susan's work could be adding a new dimension to a cultural dialogue already taking shape in your home.
Pictured above is a triptych of sorts: works by three Miami artists—a tarot card collage by Autumn Casey, 3-D painting by Kelly Breez and sculpture by Susan Lee-Chun—on spirituality and identity. Set in a typical South Beach kitchen, this makes perfect sense for Commissioner’s Dejha Carrington, where foods and their smells are inherently linked to memory and culture.
Now with Juan Pablo Garza's work Después de la caída, imagine how you might interact with the plaster-casted hands if they were alive: Would you shake them? Are they pruning your plants? Or are they suspended above your head, pulling strings like a puppeteer? Where you place the art on your wall tells a story about the work and how you relate to it. So, what story do you want to tell?
What looks good to you?
To experience the unexpected and delightful translucence of Gavin Perry's Ulysses, apply a wee bit of baby oil to the sculpture's surface and find a location in your space that catches the light. Freestanding and upright, the work feels mystical—a perfect slice of something larger than itself, revealing and concealing its layers with the natural light.
By contrast, laying Ulysses on its side exposes the many vibrant layers of Gavin's meticulous and process-driven work for all to see. On the horizontal, it’s not about the magic of the work: it’s about the craft of the artist. Purples stacked on yellows, greens and reds, we can literally visualize Gavin pouring one layer of resin over the other in a geometrically perfect repository of energy.
And finally, lighting lighting lighting. To avoid dis-coloration—especially with paintings and photography—do not place your artwork in the brutal sun. However, as we’ve reluctantly learned through Zoom-life, a little influencer lighting can go a long way. Sculptures should be well-lit by diffused light sources, which can include ceiling or overhead lighting, or indirect daylight from windows.
What are your references?
Before you head to the frame shop, look how others who collect work of a similar genre or have works of comparable size have framed things. The photo journalistic style of Johanne Rahaman's work reminded us of the honest and powerful portrayals of New York-based artist Deanna Lawson. A quick search of Deanna's work offered several ideas for framing, and also reminded us to keep it simple for a diptych that's already complex in its composition, color palette and subject matter.
Picture above: with a mat, float the work in the frame and let it breathe; simple is better. Without a mat, pull a color from the photograph (or keep it natural) and let the image speak for itself—no mat no filler.
Remember, framing isn’t only about displaying the piece, it's also about protecting it. According to Artwork Archive, "Proper framing thoroughly protects a piece and ensures that the framing is reversible. If a piece of art is affixed to a framing component in a way that makes it difficult to be removed without damaging it, you could face a big problem down the road."
For high-quality framing and amazing customer service, go to I've Been Framed and ask for Cristina for a consultation and your preferred 25% discount as a Commissioner member. We're also here to help: email Dejha, or Cristina at Primary.
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Images: Gavin Perry's Ulysses in the homes of Commissioner Collectors Brian Nemeth and Mariana Rego. Susan Lee-Chun's Untitled (Take my set of keys, #1) in the home of Dejha Carrington. Juan Pablo Garza installation Después de la caída in the home office of Mariana Pariani, and in Dejha’s dining room.