Will it float?

It is time to frame my two pieces of gesture paintings.  These are paintings done on thin, delicate, translucent Xuan paper so I really to to present them in a float format.  And I have just the frames for them.  Perfect.

But then I become concerned about the steel hanging wires being visible through the clear border of the float piece.  The wires would be very distracting, taking away the ambience I am trying to attain.

Perhaps I can compromise by attaching the painting to a similarly thin piece of translucent Xuan paper, such that the paper would obscure the hanging wires, and the translucent paper will still give off the air of a float piece?  Semi-float piece?

Without thinking it through, I trim off a piece of the translucent Xuan paper the size of the glass and attach the painting to it.  I am using a hobby heating iron used to attach skins to model airplanes to smooth out the wrinkles and creases on the paper.

 I meticulously cleaned my glass with denatured alcohol and microfiber wipes.  

Only to see this when the painting is sandwiched between the two panes of glass.

There are visible wrinkles forming on the translucent Xuan paper!  The paper is too thin and delicate to withstand the clamping of the cover glass.  A heavier piece of paper or cardboard would have definitely solved this problem, but I won't be getting my float or semi-float presentation.

I should have known better.  Years ago I committed the same mistake, but the excuse then was I was short on time, and not at a place where I would have resources to mitigate the problem.

I've seen the same snafu at the office lobby of our local Chinese/Asian attraction.  They displayed a piece of un-mounted Chinese painting sandwiched between 2 pieces of glass and it was awful.  My grandma had smoother skin than that piece of paper.  This is not an acceptable way to present Chinese works of art or culture.  

Obviously I cannot bear to see wrinkles on my own piece of work.  I should have thought it through more thoroughly.  

Back to square one, a real float it shall be.  I shall use clear fishing line for hanging wire and hope that it is not too visible, especially if the lighting is done right.

Now that I have the two pieces displayed side by side, I think they might work as a diptych?

Face Up or Face Down?

To the uninitiated, Xuan paper is just a regular piece of white paper to be painted or written on.  The more astute observer would however notice a smooth side and a rough side.

Xuan paper is made from the pulp of plant fibers scooped up on a sieve and the sheets are deposited flat on heated rollers or steel walls to dry.  The side of the paper that faces the roller or wall is smooth, the other side is more fibrous, and therefore rougher.

Technically the smooth side is the "top" side but many artists prefer the rough side to paint on.  It has more "feel".  I can attest to that.  I also like the texture the bottom side provides.  

Printing paper on the other hand are less tolerant if the "wrong" side is used.  I have wasted so much inkjet color by loading my print paper the wrong way.  It is especially easy to do if I was printing on matte photopaper.  The two sides are almost indistinguishable, either by feel or by color.  Only the finished print that comes out from my printer would tell if I fed the paper correctly or not.  Obviously there is no such problem with gloss or semi-gloss paper.  

There is a type of Xuan paper that I like to use and for lack of a proper translation, I'll call it cicada skin paper, or cicada wing paper.  This Xuan paper is very light and transparent and has a slight sheen to it, just like the wings of a cicada. The paper is considered sized or semi-sized, in that it allows color to float on it a little bit without too much bleeding.  It also is able to withstand repeated rubbing without having the top layer of fibers linting up.  Its transparency augments the transparent watercolor and bestows a very delicate feel to the painting.  It is a favorite with artists who do the Gongbi (elaborate) style of Chinese painting.  

I have a couple pieces of dance movement gestures done on such a paper.  I try to use calligraphic brushstrokes to describe the limbs and gestures.  I feel that this approach gives the dance movements more flow and energy.  There is a je ne sais quoi quality of  "writing" versus simply filling in the space with ink or color.

With me the dilemma is not whether I should paint on the paper face up or face down.  As far as I am concerned there is no perceptible difference either way.  My problem is which side of the paper should I be presenting as the top side of my painting.

The cicada paper's thinness and transparency allows the painted image to be visible from both sides of the paper, as if one is looking through a projection slide, or one of those double-faced silk embroidery from Suzhou.  The bottom side of the image can sometimes be a little less saturated or slightly well defined around the edges, but it is this quality that captivates me.

The picture above actually shows the bottom side of the cicada paper with painted image on it.

The painting on the left has the "face up" side showing, whereas the painting on the right is showing the bottom side as the good side.  Can you tell the difference between the two?

The following is a close-up of the painting presented with the "face down" side.  The images are more veiled like, more dreamy.  The limbs are obviously articulated but there are apparent discontinuity in the brushstrokes.  I suppose not all the color comes through from the top side. The blue streaks act like an atmospheric or water current, or even yards of fabric, enveloping the dancers.  I feel that "face down" presentation suits this painting well.  The audience is given more freedom to implement their gestalt. 

The "face up" side of the dancers shows more definition.  The calligraphic brushstroke does wonders with the split leap.  I am just treating the dancers as a words that need to be written, rather than filling in the spaces where their bodies are .  I especially like the effect of flaring on the clothing and all the toe points and all these are achieved with simple calligraphy brushstrokes.

I suppose no competent, upstanding artist would present the bottom side of a painting as the top side.  I don't know which is worse, hanging an abstract painting upside down or doing what I am doing now.  I don't suppose the viewer appreciates being made a fool of.  But for a second rate painter like myself, I need all the help I can get to add drama to my paintings.  I actually considered presenting these two paintings together as a diptych but I really don't want to insult anybody's intelligence, any further than I have to. 

Necessity is the mother of invention.  I am taught well!