Original artwork is an investment. It is important to know the proper methods of framing works on paper in order to conserve them for future generations. One-of-a-kind original art can never be replaced, so it deserves the very best treatment from creation to presentation.
I created these church interior drawings as studies for a previous series of paintings of cathedral architecture. Each intimate drawing explores the space and emotion of the beauty of sacred space. As a result, they hold new poignancy during this time of the COVID-19 pandemic. During this time many of us have been separated from our houses of worship and faith communities due to social distancing regulations.
There are some experiences in life that stay with us far, far deeper and longer than measurable space and time would warrant. In my early 20s I spent three years working for the Gordon-in-Orvieto program in Orvieto, Italy. The experiences and the people continue to live so vividly within me that the distance of time and space does not seem possible.
The compositions of frescoes by Masaccio, Piero della Francesca, Luca Signorelli (to name only a few), are so complicated they can be overwhelming for a viewer — and even more overwhelming for a student of drawing. I have found that working on a team and looking for simple moments of overlap and intersection can allow an entry point into serious investigation of some of these masterpieces.