“Architecture is the common denominator,” Bart explains. “I regularly take commissions from cultural institutions that work with heritage. Some of these objects are intended for public spaces, generally exhibits. For example, on the theme of bricks in art. I often start by building models to study a building’s components. These models then ‘whisper’ to me what they want to become. A photograph. An installation. Or something else entirely.” Bart has his photographs and drawings framed by Goedman + Ooms. “After a colleague tipped me off, I quickly discovered they share my love for materials and eye for precision. Important, because I consider the frame an inseparable part of the final piece. When you buy one of my photographs, it comes in a specifically designed frame – the body of the piece, as it were – which should not be replaced.”

Designing and combining as a team

We only recently understand that ‘synergistic framing’ adds value. “When I started out, I dismissed frames as purely functional objects. Some framers offer a limited selection and don’t take the time to work with you creatively. Not so with Goedman + Ooms. We sit down to develop unique profiles for every series of pieces. And these sessions can go on for hours. Designing, combining, and working out all the details together, down to the optimal planing technique and choice of inlays. They genuinely strive to take art pieces to the next level. Adding value.” An example? “I did a project for a monastery where I used the same five colors the architect had prescribed for the building. So I was eager to extend that palette to the frames, too, of course. We took the time to develop a series together so that the art pieces coexist in a truly symbiotic relationship with the building.”

Subtle coherence

Bart is very pleased with this way of working and the results. “It’s satisfying when the framer just gets your vision. I sometimes tell interns there are always have five options. One will be clearly wrong. Three will be acceptable. Fine, actually. But one will be the best. And that’s what you should go for, which is what I do with Goedman + Ooms. I remember one time I had a photograph of a stack of ladders leaning against a wall. These ladders had mortise and tenon joints, and we came up with the idea to incorporate this into the frame, too. Very subtly – a frame shouldn’t overpower the artwork – but the viewer is immediately struck by a sense of coherence.”

Pictures: Wouter Le Duc