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This afternoon I'm framing and prepping using my favorite lost and found frames.

There's a wonderful event happening tomorrow night, and I am so happy to say that this year I will be a part of it. A fundraiser for a local library using art, music, and of course food and drinks. This event highlights local talent while raising funds for the library, I'm so excited! AND it's happening right as autumn begins, awesome kick off to the holidays right around the corner!

If you are in the central Iowa area, may I suggest a date night or social gathering with friends at this annual event. Hope to see you there!

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At Chemers Gallery, it's all about the art, but we bet you didn't realize that we consider the framing to be a part of that! Custom framing is an art form in itself, and we strive to create just the right tone to fit not only your artwork but your life as well.

We love it when new mouldings are introduced - our imagination runs wild with the sheer scale of possibilities that open up. Over the years we've seen trends come and go and return once again. We've also seen some crazy ideas that just might work. (Remember when we brought badass to the OC??)

Shell
We're always searching for the latest and greatest trends to share with you, and we were shell-shocked with how gorgeous this one is! That's right, a veneer of mother-of-pearl shell creates soft translucence in three finishes and sizes. Available in shimmery white, champagne gold and, well, think of a glistening sea urchin for the third color! You'll just have to see what we're talking about in person. Perfectly elegant for bridal portraits and vanity mirrors and absolutely adorable for baby snaps, these frames are sure to make a splash.

Tortoise Shell
Speaking of shell, faux tortoise shell is back and better than ever! Frames like these haven't been available for about a decade, and we're thrilled to see their return. Elegant and stately, they make us think of manor homes, men's smoking rooms and natural history museums. Thoroughly suited for antique prints including botanical and Audubon style, the depth of color lends a richness to the presentation and elevates your art to the next level.
Rustic
What's old is new again - the "reclaimed" wood look has been reclaimed in today's shapes and colors! Rustic with a modern twist, these beautifully textured mouldings look like they've led former lives as wine barrels, barn siding, and factory flooring. Clean lines fit in with the current feel for simple shape and form. We can see these frames on folk art and seascapes, giving a real period look to the finished product.


Acrylic
We've seen color remaining strong despite a 10 year hiatus, and there are some vibrantly playful frames keeping pace! New on the scene are acrylic mouldings that can be easily personalized in more than 80 colors to exactly fit your style. Choose a glossy or frosted finish in single, double and now, even triple color - patterned frames are also available! Vivid hues provide a real pop of personality.  The possibilities are endless to turn your treasures into a work of art that's as unique as you are.

All natural glycerine soaps, made in America!

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Come in a browse through the beautiful original art handcrafted by artists from around the U.S. and Canada, shop through their wide variety of art supplies and see some of their gorgeous specialized, creative custom framing works. If you have artwork, photos, heirlooms or ANYTHING that needs to be framed, they are the ones to do it in a creative professional style that will tickle your fancy! ...and who doesn't like to have their fancy tickled?

hmmmmmm...?

While you're there you can check out my portrait prices , then contact me for a custom commissioned pet portrait of your very own! They make fabulous one of a kind gifts for any occasion or discriminating pet lover!

Grab a cup of coffee or a glass of wine depending on the time of day and take a long luxurious gander at my website and see more of my work here:

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Robert Bresson, one of the most highly regarded French filmmakers, created a new kind of cinema through meticulous refinement of the form’s grammatical and expressive possibilities.  In his book, Robert Bresson: A Passion for Film, Tony Pipolo provides a nuanced analysis of each of Bresson’s films, elucidating Bresson’s unique style as it evolved.  In the excerpt below, from the introduction, we learn about the importance of Bresson’s editing techniques. Tony Pipolo is Professor Emeritus of Film and Literature at the City University of New York.

Of all the elements of film that Bresson sought to refine, editing is perhaps the most critical, a category of rapports important not only to the rhythm of his films but to their underlying ethos.  Bresson employed continuity editing, shot-countershot, and crosscutting, but they all take on an urgency that is anything but standard.  Here lies the critical importance of looks in his films  With fierce clarity, their effect, figuratively speaking, is to empty the frame of any static pictorial tendency and direct us to the ongoing energies of the work, to each moment’s rapport with the next.  Gathering impetus befitting the surge of the narrative and its interstitial connection to form, looks are not just the eyes but also the pulse of each film, “bind[ing] persons to each other and to objects.”  It is through Fontaine’s looks in A Man Escaped, including those not actually directed at an object but registering an alertness to a distant sound, that we experience the environment of the prison, attuned to every move and anticipating every cut that leads to his freedom.  Looks are not the only generators of the cut, but they carry enough intensity even to penetrate and linger past a fade-out between shots.  Along with hands and doors, looks achieve an iconographic status in Bresson’s work well beyond the norm.

An equally important, no less elevated convention is the elliptical cut. As early as Les Anges we see that this technique is used not only to collapse space and time in the interest of narrative economy, but as an instrument of each film’s thematic trajectory.  In Les Anges key developments are elided, as if the film’s structure were ruled by the same urgency that seizes the protagonist, Anne-Marie.  The moral force underlying this welding of narrative and filmic form is an important aspect of Bresson’s cinema.

Not least of the forces behind the effectiveness of editing in Bresson is the way each shot is framed to isolate an action that by its very thrust anticipates a cut.  This becomes more prominent after Diary, when the style, drained of atmospheric and ornamental potential, concentrates on the primary action of a shot.  Its centrality is enforced by a more exacting concern for the rightness of a camera angle and of the moment to cut, both dictated by the essence of an action and its connection to an adjacent action.  The action, as implied above, may be simply the look of a protagonist so forcefully projected off screen by what Bresson called “the ejaculatory force of the eye” that it anticipates the cut.  This efficient use of filmic elements creates the impression of the unrepeatability of each shot, a remarkable feature of Bresson’s work and no small contribution to its realistic dimension.  Rather than depict, describe, or elaborate on action, the films are synonymous with action.  A description of thirty or forty sequential shots form virtually any section of his films from the mid-1

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