Trying to keep our paint-head art community connected is what we do here. How's the weather in Nashville today (it's snowing here in Brooklyn).

Okay, well a lot of this derives from basic geometry, and dividing up the proportions of a rectangle. You start with the four corners, each if those have potential directions they can go, then the center of each side of the frame, how that’s designated, with balance and symmetry (or not). The thickness or thinness of the frame implies different levels of significance. Then there’s the whole question of materials like: why are there so many golden frames? This is just a cursory look at some of the notions a frame presents. If you then make the ironic move of painting the frame, well there’s a lot of other stuff to think about. I could go on but if you’re interested, check out this article by Grace Glueck from the New York Times www.nytimes.com/1985/03/03/arts/gallery-view-today-the-frame-may-be-part-of-the-picture.html …JK

It’s been done before by Trompe-l'œil artists of the past. “The Frame” though non-existent still resides in the boundary of the page or canvas (stretcher bars), whether she painted it or not or actually attached an actual frame in the work. Then there’s the “Frame” of our viewpoint, our perceptual boundary as we move our head around the scene or focus our eyes on a certain portion of reality. Then there’s the 3rd-Eye of Cubism (x3), which through memory, integrates the whole objective view of examination into one plane. Then there’s the Mystic’s Eye of Enlightenment, which goes beyond examination as it creates vocabulary for the description of its parts but rather sees through all the layers of the so-called onion, through its sub-atomic to quarks to cosmic frequency to finally, nothingness (“Sunyata”). In other words, the frame is eternal and everlasting… (Osho) 🙏🏼😊