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The bones of displaying fine art photography

Phantasia opening June, 2008. Photo Courtesy ACP
Phantasia opening June, 2008. Photo Courtesy ACP

Anyone who thinks that making art is as simple as working alone on a project and sending it out into the world with a packed lunch is greatly mistaken. There are some things one must rely on other professionals to do.

I’m stubborn and unwilling to share my workload in many of the areas of my art making. I rummage through my draws filled with hammers and nails and sticky tape to build props and frequently sport a thimble to sew ruffs and corsets and do so, because I love the process of producing art from beginning to end. But there’s only one of me and only one life and if I’m going to hand over the rein to someone else, they’d better be bloody good at what they do. I’m not interested in being a curator, a gallery owner, a magazine editor or a framer but these are all things that I must consider in my art making process.

Believe me, exhibiting is not for the faint hearted and above all else, quality must prevail. What’s the point of working an image to perfection only to have it printed poorly or shown with inconsistent lighting and a mismatched audience?

You can’t put a price on the value of working with people who are perfectionists and masters in their field.

I’m regularly asked who I can recommend for printing and framing and my years of experimenting has allowed me to find people who are unquestionably at the top of their game and I’m happy to put my name to.

What compelled me to talk about this? A little overnight package appeared in my PO BOX this week. Titled attention: Alexia Sinclair, the package contained two sample prints and a thoughtful little note from my print contact at Trannys in North Sydney.

It would appear that a paper I’d enquired about a few months back was now available and my printer remembered my enquiry, then took the time to send me a sample. Life shouldn’t be difficult and when people do things properly, it can be very easy in deed. I can upload my images to their site and courier my work to my framers without ever leaving my studio.

We all know the problems involved in archival framing. When I go to a framer, I don’t want to hear about how difficult my framing may be. I want my framer to be a craftsman who is excited about the possibilities and the prospect of framing artworks that they value. My framers, Graphic Art Mount, show as much respect to my work as I, their attention to detail is second to none and without fail, they know who I am, what I want and above all, my taste.

My philosophy is you just can’t put a price on quality and professionalism. Don’t cut corners or the throat you’re cutting is ultimately your own.