Skin Artwork - Art is changing shape

[cjmst3k]

I'm curious to know fellow framer's opinions.

As we all know, skin artwork and skin diplomas many times buckle or change shape over time. This item (pictured in the link below) is a piece of art we framed a year or two ago for a customer. It is a carved, painted, thin piece of skin. It probably has a 1,000 to 2,000 decorative holes in it. We sewmounted it down in a number of spots to attach it to the backing matting (Bainbridge Chenille Fabric).

Of course, because it's animal skin, now the skin is changing shape, and it's buckling over most of it. The customer brought it in to see what we can do about it.

We're going to sewmount down in a number of other spots (at no charge for these secondary additional spots) - but I imagine that the animal skin will continue to change shape or buckle wherever the thread is not.

Heat is probably not an option, as heat will shrink the art. Moisture as well is probably out. Drymounting is out because it is all carved with holes everywhere, and I imagine that since the skin-art is 100% carved with holes everywhere, that is allowing for more dramatic waiving of the artwork.

We're glad to stand behind our framing, but when it's the artwork that's actively changing itself, there's not much we can do.

I'm curious to know what my fellow framers think.

http://img216.imageshack.us/img216/5355/elephantframinggp8.jpg

 

[BILL WARD]

very interesting piece---no thoughts on skin(other than to make the sewdowns alot looser th allow for movement?)---
-I thought this was going to be a thread on tatoos!!!!!!!!!!! jumped right in here to see just how you were going to frame someone!

 

[Framing Goddess]

I believe Ellen has a neat term to trot out at times like this:
Inherent Vice.

I would check with the local museum for a recommendation for the name of an objects conservator. And then send your customer there.

edie theresonlysomuchyoucando goddess

 

[Jim Miller]

I suggest you remount it using fine mesh fabric, such as Stabiltex.

Make a mount board out of 4-ply or 8-ply (how big is it?), then lay on a piece of 1/2" thick spun polyester quilt batting (not cotton - loses its loft over time) that is slightly larger than the art dimensions, and cover it with an inert, decorative fabric to serve as the background.

Center the artwork on that assembly and overlay a piece of Stabiltex in matching color (with lots of colors in the art, maybe off-white or white is best). Turn the whole assebly upside down and place a weight in the middle of the backing board, to compress the polyfill as much as possible.

Paint acrylic gel or Lascaux 360 on the back of the board's edges, let it dry, and then stretch and attach the Stabiltex edges to it by heating with an iron or tacking iron through release paper.

The compressed polyfill serves to maintain slight tension on the stack of fabrics with the art in between. This mounting technique makes a slight mound in the center, so add spacers between the mats or under the glazing, in order to prevent contact of art with glazing.

That would be completely non-invasive, hold the art in place, minimize the cockling, and still give it good overall support.

If you don't want to spend $65/yard for the polyester Stabiltex, you could use similar-looking Crepeline, which is a fine French silk organdy. Its price is in the range of $45/yard. Stabiltex is stronger and longer-lasting than Crepeline, as the silk would deteriorate more with light exposure than the polyester would.

 

[UzZx32QU]

I suggest you remount it using fine mesh fabric, such as Stabiltex.

Make a mount board out of 4-ply or 8-ply (how big is it?), then lay on a piece of 1/2" thick spun polyester quilt batting (not cotton - loses its loft over time) that is slightly larger than the art dimensions, and cover it with an inert, decorative fabric to serve as the background.

Center the artwork on that assembly and overlay a piece of Stabiltex in matching color (with lots of colors in the art, maybe off-white or white is best). Turn the whole assebly upside down and place a weight in the middle of the backing board, to compress the polyfill as much as possible.

Paint acrylic gel or Lascaux 360 on the back of the board's edges, let it dry, and then stretch and attach the Stabiltex edges to it by heating with an iron or tacking iron through release paper.

The compressed polyfill serves to maintain slight tension on the stack of fabrics with the art in between. This mounting technique makes a slight mound in the center, so add spacers between the mats or under the glazing, in order to prevent contact of art with glazing.

That would be completely non-invasive, hold the art in place, minimize the cockling, and still give it good overall support.

If you don't want to spend $65/yard for the polyester Stabiltex, you could use similar-looking Crepeline, which is a fine French silk organdy. Its price is in the range of $45/yard. Stabiltex is stronger and longer-lasting than Crepeline, as the silk would deteriorate more with light exposure than the polyester would.

All that and realize your limitations no matter how good you are or think you are. I would have explained the unknown problems that mounting something like that can have and make no guarantees on customers expectations. I would guarantee my workmanship and note limitations on the invoice. That looks like a framers Pandora's Box.

framer

 

[JRB]

Heck, call Jim and see if he would be willing to take care of this for you. You can not pass the cost on to your customer, so wait until you think he might be in a good mood, he might just knock off a few percentage points for you, you being a fellow Grumbler and all. Jim seems to know how to do this, sometimes it's better to take advantage of another's expertise, than to try things on your own, especially when a customers property is involved.

I have spent many thousands of dollars over the years enlisting the help of others, conservators, photo restorers, shops that can handle huge, oversize projects, things that just don't normally fit into our work flow. I spend a little more, but my customers get the best I can deliver. It's much the way large companies can succeed, by realizing that two heads are better than one, and utilizing all available talent. This of course is another reason to be a Grumbler, there is a whole lot of brainpower out there, and we get to use it, without it being on our regular payroll.

John