The conventional picture frame, which is the focus of this consideration, provides a protective support for the artwork but also focuses the viewers on the enclosed image.

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In occidental art practice the frame is normally orthogonal (square or rectangular) in shape.

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Why?  For practical reasons I presume, but as a former muralist I could see how this tradition might have a constricting effect on the creative spirit.*

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In a series of works titled ‘Taming the Frame’ I challenged the arbitrary nature of this frame. Using a puddle of colour as a generative font, on a panel capable of theoretically infinite dimension, I served as an instrument, sensitive to the demands of tone and texture. It became apparent that the determination of the limit of the generated image would be an ongoing issue.

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In the final (eponymously titled) work in this series, the void appears. It replaces the puddle of colour as a generating font, and leads onto the subsequent series, ‘From Voids’.

 

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* ‘One of the most interesting remarks Greenberg made was that painters generally made the size fit the forms. He felt this inhibits the artists. They should reverse this and let the paintings take charge. Very Interesting.’

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Excerpt 01/06/1968 from The Diaries of Fred Williams 1963 -1970, edited by Patrick McCaughey, The Miegunyah Press, 2024