Know what your framer is doing: a horror story

Here is a horror story worthy of the Texas Chainsaw Massacre, as told to me by the victim who lived it.

It took nearly a year for one of my CPSA chapter members to finish a drawing which she decided to enter in this year’s CPSA International Exhibition. (Her first time entering.) After spraying it with coats of workable Krylon fixative and final Lascaux fixative, she took it to a local privately-owned frame shop which was recommended by several artist friends. He told her he’s framed “thousands” of drawings, so she was sure it was in good hands.

For some reason, the framer chose to permanently heat-mount her drawing to foam board, as one might do with a photographic print. The heat reacted with the wax-based pigment, and possibly the layers of fixative. The drawing was covered with blisters which broke and flaked off!

But wait, there’s more! When he permanently adhered it to the foam board, he didn’t even use a large enough board to leave a margin around it for more flexible framing options–the board was the same size as the drawing.  And then he taped it to the back of a window mat, with the drawing barely covering the opening!

To top it all off, before she got to the shop to see this butchery, the framer took it on himself to “repair” a section of the drawing with oil pastels!  Oil pastels are not compatible with wax-based colored pencils, and of course nobody has any business “repairing” an artist’s work except the artist or a conservator (think of Smithsonian art restoration specialists).

Her artwork was completely destroyed. One has to wonder, WHAT WAS HE THINKING?

The framer apologized, didn’t charge her for framing, paid her the declared value of her drawing, and paid for her non-refundable CPSA IE entry fee (since she had already entered).

She brought the destroyed drawing to our CPSA chapter meeting to see if anyone had suggestions for how to save it. We were all aghast.  The best we could come up with was maybe solvent. The oil pastel probably already disqualified it for the IE anyway, but we suggested that if the piece is accepted she could relate the story to the national exhibitions director for a judgment call.

I think it’s important to share this story as a public service.  Make sure you know what your framer is doing.  Make sure you both agree on exactly what will be done with your artwork, before you leave your artwork in their hands.  Ask questions.  If he/she uses a term you don’t understand (e.g., “preservation fit”), don’t feel stupid, ASK.   It’s irrelevant whether you take your work to a large chain store like Aaron Brothers, or a privately-owned local shop that’s been in business for 30 years.

I’ve never felt the need to go over specs in great detail with my framers before, but after seeing and hearing this story directly from the victim, I certainly will from now on.

2 thoughts on “Know what your framer is doing: a horror story

  1. I don’t know where to start. You NEVER dry-mount an original piece of art. NEVER. Hinge-mounting with Acid-free, archival tape, or using archival corners – or not mounting at all, in some cases. Most people don’t ask about the mounting, but we tell the person how we will do it, anyway. Some want a warped piece flattened, but there is only so much we can do with an original piece of work. We know that we could be sued if we dry-mounted an original, if not specifically instructed to do so (this only applies to photos; you just NEVER dry-mount drawings or paintings, etc.), it loses its value. I can’t believe that the framer who did your friend’s work has been in business for very long… way. He could not have stayed in business for long, based upon that one incident.

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