Process
FRAMES & PHOTOALBUMS
“In his essay on the picture frame, Simmel (1902) proposed that the function of the frame is to separate a work of art, which represents a world on its own and does not require any relation to the exterior, from its surrounds. The frame thereby helps to place the artwork at a distance to the exterior, from which the observer can aesthetically enjoy the picture. Moreover, according to Simmel, the qualities of the picture frame assist and give meaning to the inner unity of the picture. Therefore, the frame has a dual function: the outer boundaries defend the picture against the exterior and the inner boundaries support a unifying integration with respect to the picture.” (Simmel, 1902, cited in Bissinger, 2019)
I am always aware of the frame. Paul Coldwell even commented on this when I was presenting my sketchbook. He said that I am conscious of the rectangle. I think this comes from my love of cinema. In Kiarostami films, every frame looks like a painting. I think the act of containing is exciting. Showing the world your compositional values. The reference images I paint from are contained to four edges: The photographs, the videos on the screen. However, in the architectural portion of my practice, the frame is redundant. The building becomes what houses the frame. So effectively, I am designing everything around the frame. The frame can be a window or a void or a work of art.
Now, what happens if I remove the frame? Or should I say separate the frame from the painting and let each live individually knowing they have influence over one another.
The purpose of the frame is still there, I used it to enhance my experience of the image and to help me crop the best composition of my chosen image. Also, it's like the frame chose the image as I chose the frame when I found it in the charity shop. It is like I passed the torch to the frame which then gave back to me with a painting. The frame and I both agreed that the painting will be better for it, but, also I accepted that the painting will be better without the frame. But the frame is still important and one frame has the ability to hold many photographs in its lifetime. These second hand frames have lived a life before me as I am trying to capture the life that I have lived in them. Who knows what kind of images they held previously? And why the owner of the frame decided to put the photograph in it.
In this installation, I presented my painted album alongside the frames that were used in response to the images I had on my mum's head drive. The frame was a tool of elimination. In my process, I held the frame to the screen of my iPad and flicked through the images until I found one that stuck. It was like an “aha” moment. The frame allowed me to see the picture in relation to it. I chose to focus on certain colours that would complement the frame. What stands out most for me in the album is the void that fills the space between each painting. A frame is used to encase an image from the void of the wall. Here the frame is removed and the image encases itself there is still a frame but it is the paint itself.
I presented my first frame with a painting inside, then a frame with a photo inside, and then the empty frames that were involved in the making of the photo album. I am referencing the compositional structure of the Persian miniature. How the frames are used to tell a story individually to the whole image.
The photo album is something I force upon everyone who visits my house. More than anything I just want a reason to look through them again with the aid of someone who has fresh eyes. To compare the photo album to the photo frame: the photo frame is unapologetically there. It stares at you as you enter the room. The photo album has more variety; it can have a chronological narrative or just be aesthetically composed. The photo album is also more private; you must be invited to look at it. Sometimes you see the frame before the picture, sometimes the frame is what your eyes wander to after viewing. Both of these objects are domestic. They are homely and when presented with them they give a sense of familiarity.
References:
Bissinger, C., 2019. Sociology and the frame, or The painting’s pimp: a dissertation for the LSE. Masters. LSE.