Small Scale - Flow on porcelain under-sheet
If colour is required, a stain is mixed into the porcelain clay before the beads are made. There is a wide variety of colour available. Sometimes the beads are made with two colours of porcelain to make two tone beads and give a more dramatic effect as the colour changes from one side of the work to the other. (For example, opposite the beads are turquoise and grey, below they are charcoal and white).
The porcelain beads are built directly onto a porcelain sheet, held in place with slip (runny porcelain), the whole sheet is then fired in the kiln to make one single piece of work. The porcelain shrinks, wavers and sometimes tears apart in the kiln.
The porcelain sheet is carefully lifted out of the kiln and mounted onto a linen board and, once this has been stuck, it cannot be removed and the linen cannot be changed.
Shown is our standard natural linen; you may provide your own choice of linen (or other material) and choose the size of mount board to define the linen border size around the porcelain.
These delicate works can be left "naked" on the mount board if for display in a clean and quiet environment but, for protection from knocks, they require framing either in a painted wood frame with museum glass or in a Perspex (Lucite) cover frame.
With either frame choice, it is possible to change frames without affecting the mount board.
Metal fixings are screwed into the mount board for hanging (the frames are just for protection and cannot support the weight of the work).
Flows are best lit by light passing across the surface with down/ up / cross lighting to bring out the texture - the Flow flattens out with direct lighting.
Painted wood frame with museum glass
Museum glass has a special coating which helps to reduce reflection and has UV resistance to stop the linen fading (porcelain colours do not fade). The frame is held in place with special clips and tape, but the mount board can be removed for re-framing without any sign.
It gives clear vision without reflection and creates a seal around the work, but glass needs special care not to break or smear and frame is delicate.
Painted wood frame with museum glass (outer corner)
The frame is usually painted in off-white and waxed with a slight sheen. The usual depth of the frame is 6cms.
Painted wood frame with museum glass (inner corner)
The fillets inside the frame to hold the mount board in place are usually covered in the same linen as the mount board.
Perspex (Lucite) cover Frame
This frame has been designed from a single sheet of perspex especially for Flows: it has no glued joins so allows a freedom of view from any angle. The frame is attached by small screws into the side of the mount board but can be removed without leaving any sign. The corners where the sheet edges meet are slightly open.
It is very strong with an open view, but is easily scratched, very shiny and has openings.
Perspex cover frame (inner corner)
The frame allows visibility from all angles, without blocking view.
Perspex cover frame (outer corner)
The depth of the frame is usually approx. 7cms, but can be made bespoke to any requirement.