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After Hepworth I, 2024
Traditionally, tapestries would have been displayed as wall-hangings, freely falling into their own textured shapes. Yet framing is becoming an increasingly popular option, especially for weavers displaying their works in exhibitions or for sale. We are in the midst of an exciting revival of global interest in textiles, with many galleries inviting woven tapestries to adorn their walls—albeit often requiring that they be framed. Rightly or wrongly, there is something about a frame that seems to transform a woven tapestry in the eyes of those less familiar with textiles, signaling it should be recognized as a ‘work of art’.
Framing a tapestry is different from framing paper or canvas-based works. Such two-dimensional works, neatly confined within a rigid shape, can slot easily into conventional frames. Woven tapestries, however, have their own drape and fluidity. There are ways to prepare them for framing as part of the weaving process but the display method often needs to be decided before the very first pass is woven. Certain types of finish can only be achieved with a particular style of selvedge or knot. It is important to factor these considerations in from the very beginning. There is nothing more frustrating than discovering, after spending months weaving a piece, that there is no straightforward way to frame it! It’s a rite of passage that many weavers have faced at least once.
So where to begin? The seemingly infinite possibilities for framing a tapestry can be overwhelming. To start you on the journey, here is a little collection of tips and tricks that I wish I’d learned sooner, and a few ideas to consider before diving into weaving. Often, the process starts with a deceptively simple question: what will the relationship be between your tapestry and its frame? Is the frame a simple container - a utilitarian object - or is it part of a larger conversation? Which brings us to the edges…
An eternal dilemma. This is one of the most impactful decisions any tapestry weaver can make, and it happens before you even begin to weave your design! In short, if you want to frame your tapestry in any way that does not show visible warp threads, hems (or ‘selvedges’) are your friend.
No hems! After Hepworth I (2024), on the loom.
Tapestry weavers are endlessly curious about how everyone else finishes the back of their weavings. At any tapestry exhibition you can always spot a weaver with their cheeks against the wall, trying to sneak a glimpse of the reverse. Some weavers stitch in all of their weft tails for a smooth surface on the reverse; personally, I like to keep the tails in place to record the story of the tapestry and how it was made. A helpful tip for anyone planning to leave their tails loose is to use locking knots as you weave. That way, you can trim the tails later, to avoid lumps when framed.
Whatever approach you choose, sewing on a hem tape all around the edges will help contain any loose threads and prevent them from escaping to the front of the frame. There are many types of hem tape, from linen to sturdier cotton twill. Take time to experiment and see what works best for you.
Glorious chaos: the reverse of After Hepworth I (2024), during the finishing process.
For larger and heavier tapestries, it is helpful to also sew on a strip of webbing tape to reinforce the upper edge. Otherwise, gravity can stretch the stitches that affix the tapestry to the mount, creating gaps and holes over time. The webbing tape can bear the brunt of the weight and should be stitched in a diamond pattern to distribute the weight evenly.
Confluence I (2023)
The webbing tape method
Some galleries or clients are interested in woven tapestry but anxious about how to care for them, and may ask for them to be glazed like artifacts. This is especially true if the piece is destined for a location that is particularly susceptible to smells or high traffic, like an entrance hall or kitchen.
One way to address such concerns is by using a box frame with glass for protection. Yet many textile artists dislike the physical separation created by glass, although this can be helped by using (admittedly expensive) museum-quality glass that is less visible and has minimal glare. If you plan to use glass, bear in mind that the thickness or depth of the frame may introduce shade that can conceal the edges of the tapestry from view. You may wish to create a thicker woven border, or decide to mount the tapestry on a wider mat, to address this.
Behind glass: Rinsey Cove (2021)
On the other hand, leaving the surface of the tapestry exposed can be a statement in itself, unapologetically declaring the piece to be a textile. This encourages interaction with the viewer and you often see someone drawn across a room like a moth to the flame, to physically touch the surface or take a closer look at the way light is caught and dispersed across the weave.
You Are Not Alone (2022)
A frame can be a powerful intervention from the surrounding environment, elevating and defining space for the piece to speak. One way to introduce greater visual distance is by increasing the size of the material border between the tapestry and the frame, to accent the artwork. There are endless possibilities as to the size, colour and composition of the border, all of which can dramatically change the overall look and feel.
A few popular options are to sew your tapestry to mount board, foam or even canvas, which can then be stretched over a frame and stapled into place. Another is to sew a piece of velcro tape to the reverse of the tapestry, and attach it directly to a tray frame, leaving the surroundings as plain wood or a painted surface. All of these are great ways to highlight the tactile nature of a tapestry by displaying the live edges or even a fringe.
