A painting may happen on a scrap from the wood pile. If the image was composed on the ground, on a board associated with the ground, it feels wrong to suddenly position it vertically.

I can’t glue a cradle support onto the back of a painting that’s already finished. Nor can I just drill a hole in the back.

Still, sometimes one of these things seems to deserve the kind of display that nowadays is considered dignified for a serious painting.

That is, sometimes a winning remnant should hang on a wall, rather than lean on a bookshelf or idle in a dollhouse.

For such pieces, I create consoles: panels that hang like normal paintings and provide places for the unhangable works to perch.

These consoles are built and painted to best complement the compositions they support.

The simple tilt of the painting indicates that it is an object on a shelf. This gesture highlights the fact that these small works are portable and handleable.

So, essentially, this weird way of presenting paintings is my attempt at balancing conventions of display with an invitation to touch.