Well, once the painting was finished, It was time to make the frame. Because the stretchers were completely square, I decided to make what is known as a "Floating Frame". This would allow for a three quarters inch gap between the canvas and the frame, and give the impression the canvas was 'floating'. The material I would use would be that of bass wood. This was another monster of a project mostly because of the scale.
I made the frame next door in my former wood shop-- (now belonging to Silas Dunlap} and spent a solid week in production. My intention was to paint it black, insert the painting into the floating frame, and place a brass placard with the title and my name on it. However I couldn't wait for the frame to be finished as I needed reference for advertising. I called my colleague, noted fine art (aerial photographer) Bill Dewey, to come and photograph it out side my studio.
On the day Bill came to take pictures, I took the painting out out my studio and hung it, unframed, on one of the Barn walls of the Old International Dairy. Bill snapped away digital pictures for my records. I invited my friend Cyndi Burt to come and photograph me standing in front of the piece, for my web site.
Over the next two months I continued to plan for the relocation of the painting: shipping/transportation, and throwing the celebratory event that would be it's launch into the public domain. I realized that similar to painting, production work is all about priorities; prioritizing, shifting priorities, and re-prioritizing, in order to manifest the new idea.
I also invited as many people to come to my studio to view it, generating as much excitement and enthusiasm around the birth of this Master piece.
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