Shan Bryan-Hanson

Framing a Large Work of Art

Shan Bryan-Hanson
Excess paper is being torn from the edges of the drawing in progress.

Excess paper is being torn from the edges of the drawing in progress.

Linen tape is used to adhere the drawing to the backing board. 

Linen tape is used to adhere the drawing to the backing board. 

I recently completed a large-scale drawing.  Since I usually work with paint on stretched canvas or cradled panels, I was surprised by a few of the challenges I bumped into when framing the work and would like to share the solutions here. The drawing is 46” x 46” and framed in a 48” x 48” frame.   

Step 1:  Mount the drawing to supportive board

The first challenge was figuring out how to back the drawing. Oversized mat board is sold in 40” x 60” sheets--not large enough.  After scouring frame and art supply vendors for larger stock I ended up using a 48” x 48” sheet of white gator board which worked well.

The drawing is mounted with a series of folded hinges made of archival linen tape. This allows the work to be mounted to the board with no visible tape showing.  To make these mounts, fold a piece of linen tape in half, sticky side out.  One side sticks to the drawing and the other side sticks to the board it’s mounted on.  Place another strip of tape, sticky side facing down, over the bottom layer of the hinge to reinforce it.  

Linen tape hinges

Linen tape hinges

Step 2:  Prepare glazing

The acrylic glazing was purchased at a local glass shop.  48” width is the largest plexi sold locally so I’ll be sure to keep future drawings under that width. Acrylic plexi was chosen over glass because of the size of the drawing.  Plexiglass is much easier to transport. 

Protective paper coating being removed from the plexiglass. 

Protective paper coating being removed from the plexiglass. 

Step 3:  Assemble Frame Moulding

The frame moulding is from Westfall Framing, a company I’ve purchased from in the past.  The  moulding can be ordered with pre-drilled holes and plastic inserts, their “Max” system, which makes assembling the frame easy.  With the max system, wood glue is the only additional item needed to assemble the frame. I also ordered spacer bars which are placed between the glazing and the art.  This is a great way to allow art to float in the frame while also keeping the glazing off the art.

Glue sets for 24 hours after frame is assembled. 

Glue sets for 24 hours after frame is assembled. 

              Layers of moulding and spacer bar

              Layers of moulding and spacer bar

The "Max" system in the corner

The "Max" system in the corner

Along with Westfall Framing, both Metroframe and the Artist's Guild provided great advice during this process.  The Artist’s Guild is our amazing local art supply store and Metroframe sells beautiful frames which I’ve had good results with in the past.

Step 4: Add drawing and secure back. 

The mounted drawing goes in last and is secured with picture framing tool that operates much like a staple gun. 

In this image you can see how the spacer bars provide distance between the drawing and plexiglass. 

In this image you can see how the spacer bars provide distance between the drawing and plexiglass. 

Final piece, framed and ready to go. 

Final piece, framed and ready to go. 

Finally, hanging wire is secured to the back of the piece and it is ready for display! 

Two Exhibits

Shan Bryan-HansonComment
Cherry Blossoms Oil on panel, 18" x 18" 2013  

Cherry Blossoms

Oil on panel, 18" x 18"

2013

 

This painting, inspired by a cherry tree in my backyard, was painted this spring and will be on display in two upcoming exhibitions.

The first, the 2013 Collection Invitational, opens this Friday night, 5:30- 7:00 p.m. at The Hardy Gallery in Ephraim, WI.  The exhibit runs from July 20 -August 25.

Several weeks after that show closes, the painting will be exhibited in the 69th Art Annual Juried Exhibition at the Neville Public Museum in Green Bay, WI.  The Art Annual is on exhibit from September 14, 2013 - January 5, 2014.  

Since this painting represents a return to abstraction in my art I'm happy to have it included in these two exhibitions.  Hope you can make it to one or both of the shows. 

 

National Juried Art Exhibition, Cooperstown Art Association

Shan Bryan-HansonComment
Sky Series, 1 Oil on panel, 18" x 54"

Sky Series, 1

Oil on panel, 18" x 54"

I just received news that Sky Series, 1 was accepted into the 78th Annual National Juried Art Exhibition of the Cooperstown Arts Association, Cooperstown, NY.   It was a pleasure to exhibit in this National several years ago and I'm looking forward to doing so again.  The exhibit opens with a Preview Party on July 12th, 5-7 p.m.   Artist, John Magnan, who juried the exhibit, will provide a Gallery Talk and Tour at 4 p.m., prior to the reception.  

My daily commute is long and I am constantly amazed by illusive and ever-changing views of the sky.  The clouds in the center panel of this painting were inspired by one of these views.  I had no camera with me so I pulled over and made a quick sketch of the of the clouds which I later referenced in the studio.  

A Few Seconds...

Shan Bryan-HansonComment
The Zen master (Thich Nhat Hahn) ... offers advice about how to appreciate his works. “The best way to look at the exhibition is to breathe in mindfully. You need only a few seconds to be fully present in the here and now. In understanding, there are seeds of joy, seeds of insight and seeds of enlightenment. He suggests walking slowly around the exhibition. “Half an hour spent in the exhibition hall is half an hour of meditation. You can come out of the hall as new person.
— The Art of Zen, The Nation, Thailand, April 7, 2013, an article about, "Calligraphic Meditation: The Mindful Art of Thich Nhat Hanh" at the Bangkok Art and Cultural Centre.

This is such beautiful way to view a visit to an art museum or gallery.  There is no need to enter with prior knowledge about the art or the artist.  One can simply "breathe in mindfully."  In our very busy, fast-paced world this seems like a perfect role for art.  This is my goal when I paint, to shut down the busy mind, which sometimes feels like chasing the wind.  Every once in a while, though, there are those precious moments of stillness, when time is lost and process takes over. Thich Naht Hahn's statement suggests this opportunity exists in both art-making and art viewing; a shared space of quiet in a very loud world. 

Art of Practice

Shan Bryan-Hanson2 Comments
yoga book.jpg

This book arrived in the mail yesterday.  I must admit, the gorgeous typography and cover design drove my decision to buy.   It's simply a beautiful object; color scheme, photography, typography and paper quality are all thoughtfully considered and executed.  The exquisite yoga sequences inside are icing on the cake.  

For me, yoga and painting have three important things in common:

1.  Yoga and art are practice.  

2.  Yoga and art demand presence. 

3.  Yoga and art are forms of creative expression.  

What are you compelled to practice?  Where do you find presence?  Opportunities for expression?  

Trees

Shan Bryan-HansonComment
On the Last Day paintings, museum installation photo

On the Last Day paintings, museum installation photo

Pull up a lovely, old tree stump and sit a spell.  Reflect on the power and beauty of trees, life givers to us all.  We all have our favorites; the great oak on a grandparent's farm, the impossibly huge redwood seen on vacation, the sapling in our own backyard.  

Notice. Notice. Notice.  And love.

On the Last Day Series

Shan Bryan-Hanson
On the Last Day, 1 Oil on panel, 72" x 18"

On the Last Day, 1

Oil on panel, 72" x 18"

These is the first painting completed in my newest series of work, On the Last Day.

The poem, “Place,” by W.S. Merwin, is the inspiration for the On the Last Day Series of paintings.  I love that the sense of hope in Merwin’s poem is in the inherent value he places the tree itself, not as a means of service to humanity but simply because it is.  The tree simply is and the planter simply does.

The paintings in this series are 72” tall and 18” wide, painted at human scale so the viewer physically relates to them.  The images of tree slices are used as metaphors for internal worlds and expanding consciousness. 

This Land is Your Land

Shan Bryan-Hanson
Eon, Oil on panels, stones, 2012
Eon, Oil on panels, stones, 2012

This piece is current on exhibition in This Land is Your Land at the Miller Art Museum in Sturgeon Bay, WI.  This is artist statement for the piece: 

This piece is inspired by the lakeside view at the Kangaroo Lake Nature Preserve.  The painting itself is an impression of a moment, rather then an exact replica of place, painted in the studio from gestural sketches and imperfect memory.  While descending down the cuesta, to the point on the lake from which this view is taken, I experienced a sense of deep time, both geologic time and the notion of being “lost in the moment.”  The stones are used to represent deep time, as both physical representations of the history of the Niagra Escarpment and as simple objects of meditation and reflection. 

The stones were taken, with permission, from another area in Door County, also part of the Niagra Escarpment.   While wiping my shoes on the boot cleaner near the entrance of the Kangaroo Lake property, placed there to hinder the proliferation of invasive weeds, I could see remnants of the past in the form of a crumbling stone building foundation.  This served as a reminder that the migration of objects is inevitable, whether attributed to ancient ice or human hands, and is part of the social and geographic history, and future, of place.   

Sway

Light, PatternShan Bryan-HansonComment

Seeds and pods have always ambled in and out of my art, coming and going in one form or another every few years and currently in the form of The Milkweed Project.  It is the moment in the life cycle when the plant is dying and seeds are forming that is very interesting to me; it is simultaneously both a beginning and an ending.

Still Life

Painting, Studio PracticeShan Bryan-HansonComment

This is a photo of a still life in progress, a very simple still life of a tiny tea cup my daughter received as a favor at a birthday party.  I like the phrase still life; life standing still, time slowing down.  It makes me think of any Vermeer painting.  His figurative works, not technically still life at all, convey a sense of life stilled.   Light is soft yet sharp and details come into extreme focus. Time slips away and we really see the girl with the pearl earring or the woman holding a balance.  Life stills for one very lovely, quiet moment.

Light Change

LightShan Bryan-HansonComment

I'm making a small change on this site and turning this page into a blog for occasional postings about things happening both in and out of the studio.  I'm currently sitting by my daughter, who is home sick today, and hoping she feels better soon. 

This photo captures what I feel about winter light.  It comes in slivers between large chunks of darkness, bright and beautiful.