Canvas Float

Tourist acrylic from Cuba, with skimpy edges. Reverse-beveled Mount Cor backing behind painting, attached to a white mat backing. Deepened the LJ frame by ripping the rabbet from a same-width black and attaching to the back. The painting is about 18 x 24.




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(For most thinly-edged paintings, we attach Beva strips and stretch.)

 

Very clever Shayla, that really elevates an inexpensive tourist piece to another level. I have a several small African paintings that suffer from those same narrow margins that would make stretching difficult. I was considering dry mounting with Fusion 4000 but your float mount has me seeing them in a new light.

 

As long as the medium can take that temp, a Fusion 4000 mount would allow for future reversals. In this case, they plan to keep as is, so MountCor at 130 worked great.

 

Interesting idea to incorporate the border material as a part of the image. It tells a little story about the primitive approach and methods used to create the painting.
When floating, I usually decribe the effect to the customer as, "treating the piece as an object, beyond just the image."

I think it takes a leap of faith on the customer's part to accept this approach on an item like this (as opposed to, say, a drawing or print on a piece of deckled art paper),
but it works very effectively for this.

Rick