During 25 years of doing fine-art shows, I became dissatisf ied with the sameness of exhibited photography. The almost endless combinations of frames and mats all had that typical straight-line cut. There was little individualism in the presentations to associate the work with the artist. There was little, if anything, unique about the framing and especially the matting. Close examination of both painters’ and photographers’ works eventually made me realize that presentation was everything in making an outstanding impression—which is what it takes to make a sale
I’ve always liked the ragged edges foundonmany lithographs. It reminded me of the deckle edge that was common to snapshots many years ago. But unlike the deckle edge, which simply replaced the straight edge of the photo, the ragged edges of lithographs actually tear into the image itself. The lithograph is then fastened to the mount with anywhere from 1/2 to 1 inch of mount board showing before the mat appears. The finished look is elegant and very professional.Taking a cue from lithographs that are done in this way, I experimented with combinations of materials to construct a mask that would give me the desired effect. This technique works with both black-and- white and color prints.