Glueing and Framing Anna

February 16, 2021

Anna, Front, 2011. A multi media project. Newly framed: 50 x 70 cm or 19.6 x 27.5 in

Anna, Front, 2011. A multi media project. Newly framed: 50 x 70 cm or 19.6 x 27.5 in

About ten years ago I created a multi-media painting, consisting of twenty-five identically sized wood panels which, when assembled together, created one image. See linked image to the left.

The whole project was intended as a double-sided painting, so the panel backs were painted at the same time as well. How to display or hang something like that? Well, way back in the day when I had first conceived of such a project, I had a carpenter drill a hole through the length of each panel so that five panels could be assembled vertically on each of five dowels and the dowels could then be embedded into a frame, top and bottom. This would result in a five by five grid which, at least theoretically, would allow each panel to rotate front to back resulting in an ever changing painting. That, at least, was the theory.

In practice that turned out to be almost impossible. The columns created by the dowels swayed with the weight of the panels on them: they were too flexible. Also, creating a strong and stable frame for inserting the dowels at exact but slightly varying intervals (due to the different textures) along the horizontal supports top and bottom was way beyond my carpenter’s pay grade. Still I tried it out and though the result was very coarse, it worked well enough as a beta version. However, by implementing that structure, I discovered that the panels themselves could get damaged by rotating and more importantly, though it had seemed like a good idea, actually, it added little aesthetic value. So, ditch or punt? I was ready to take it all to the dump. I really was. There were so many reasons to bail. 

But then I wondered: would be possible to glue it all together? Would it, could it ever be strong enough? And could I (finally) construct an elegant enough frame that would be able to hold it? I wanted to try even if only to complete the painting on the back side, which, in my vision, had always required the fully assembled group of panels in order to paint them with a unifying scumble (or two). 

Anna, in her popsicle phase.

Anna, in her popsicle phase.

So, after repairing some chips on the fronts I began sanding the sides thinking that wood to wood contact should give the glue adhesive its best chance. I then constructed some U-shaped wooden casings for the sides, top and bottom. Eventually, these would be used to hold the painting in place within a larger, hardwood frame, but could also be used now as braces to insure alignment during the glueing process. I arranged the first five panels along one dowel and starting glueing top to bottom, cross-grain to cross-grain. That went quite well. I placed the wooden casing along both sides of the panels so that they could lay flat above and below one another as they dried. I ended up with five solid columns of five panels each. As they lay side by side the wooden dowels stuck out top and bottom making the columns look like a popsicle sticks. See the photograph above, right. 

Anna, secured with straps during the final glueing phase.

Anna, secured with straps during the final glueing phase.

I drilled holes in the shorter wooden casings to assist in holding the dowels (and therefore the panels) in place during the longitudinal gluing process. Then, after quickly glueing each column side to side and inserting the dowels into their bracings, I placed protective cloths and hardwood boards, above and below, and strapped buckles across the width to create the sideways pressure needed for a good adhesive contact. At this point the patient was completely mummified. See photo to the left. Above the mummy you can see the longitudinal casings sitting on a shelf. They are lined with white foam tape for protection of the painting in its casing. I gave the patient a good 24 hours to dry. 

Anna, Back, the egg tempera underpainting in its new frame.

Anna, Back, the egg tempera underpainting in its new frame.

The next day the final result was one solid piece (!). Hooray! The painting could then be inserted into the wooden channels mentioned above. They in turn were attached to the inner sides of a simple hardwood frame. It screwed together along its length, top and bottom, allowing for easy access when and if need be.

The image at the top of this post shows the front side of the painting in its new frame while the image here to the right displays the back side (with its original underpainting from 2011). Now when all my egg tempera touch-ups to the back side have cured I intend to finally cover the back with those semi-transparent scumbles mentioned above. Here is the result.


4 Responses to “Glueing and Framing Anna”

  1. […] made viewing both sides impossible. So I set to work glueing and framing Anna. Which I describe here. Surprisingly, through that glueing I was able to create something that was now a unified […]

  2. […] The front side then consisted of 25 independent individual blocks, which were painted individually. See linked image on the right. However, I had always wanted the back side to present an etherial yet unified mirrored image of the front. That is, an image of the witnessing consciousness of a human being. However due to the piecemeal nature of the substrate, the whole had lacked any structural unity. I had to create it. See glueing and framing Anna on my companion blog site […]

  3. […]  See linked image to the left. However, due to many technical reasons which I have documented here and here, the back side was not completed until March of 2021. See linked image on the right. No […]

  4. […] Additionally, I did not see how to execute the back side so that the whole piece could be displayed. The project languished then in a corner of my studio until 2021 when I picked it all back up. The back side can be seen here, the glueing and framing solution here. […]

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