I came to framing sideways. For years my work was in human rights — producing immersive VR exhibitions and documentary projects with survivors, NGOs and campaigners, most recently as co-creator of Nobody's Listening, an exhibition built around Yazidi survivor testimony.
That work is about paying close, patient attention to something someone has trusted you with, and finding the right form to hold it. Picture framing turned out to ask for exactly the same thing, just on a smaller and more physical scale — a mount board instead of a headset, a mitre joint instead of a script.
I trained at West Dean College, and I'm still very much early in the craft — a few months in, self-taught in the workshop as much as in the classroom, and still finding what I'm drawn to. What I've landed on so far: I look for a colour that already exists somewhere inside the piece, often a quieter, secondary tone rather than the obvious dominant one, and build the mount out from there. I reach for double mats with metallic slips and reveals more often than not, and I like stacking two or three mouldings together rather than settling for one off-the-shelf profile.
I'm based in Haywards Heath, West Sussex, and I work with photography, fine art prints, maps, documents and the kind of keepsakes — invitations, tickets, letters — that are easy to lose and hard to replace. If you're not sure what a piece needs, that's the normal starting point for a conversation, not a problem to solve before you get in touch.
Recent commission — silver frame, double white mount.