Skyframe Artist Highlights 

Almost 30 years in the making!

Building a partnership with Suzanne Grossman

How many times a day have you actually taken those few, precious moments to, “stop and smell the roses'’. So many of us live life moving from one activity to another, from work, to family and everything in between. Susan Grossman's art is the literal definition of doing just that.

Back at the Skyframe offices there are days when you walk into either the showroom and or the warehouse and in full display are pieces that are reflecting a moment where someone stopped and used their creative expression to show a moment in time, they are all in the queue and getting prepped to be framed. From the static guard that is use to assure that every piece of medium is in its proper place, to the over 10,000 frame moulding choices. Wood, Metal/Welded, and Plexi Frames! In addition to machine finished mouldings, Skyframe mills over 200 custom frame profiles from raw woods. If you ever visit our showroom in NYC, you will literally see a majority of these options at the same time you are able to see a few pieces that are about to head over to a local gallery, or a six foot print that someone commissioned for their personal collection. 

We recently had the very talented Susan Grossman stop by the warehouse to accomplish just that. With a selected solo exhibition at the Kim Eagles-Smith Gallery, in Mill Valley, San Francisco Susan brought the pieces that were in need of framing. Grossman's process starts with taking photographs and then developing them into charcoal drawings. Skyframe customizes frames for her art pieces and delivers them to galleries. It was more than just being able to see her final product, but rather watch an artist in their element, away from the studios that bring out their creativity. Using a minimal palette of black, white , and gray, punctuated by the occasional primary color, Grossman’s drawings recall classic film noir. She finds compelling subjects and locations by crisscrossing the city and taking numerous photographs. Once in the studio, Grossman, like William Kentridge, begins to draw and then obsessively shifts her narrative world away from her sources. She re-positions buildings and vehicles while adding and subtracting characters to achieve the final cut. The physicality of her process is crucial to achieve the “just happened” feel of her work.