Studio Sixty Six



Posted on June 01, 2019
When you buy a new, beloved artwork, it is advised to invest in framing. Here the word invest is intentional; framing costs might seem high, but they are an investment towards ensuring that your piece will show well and has proper protection. It is possible to buy pre-made frames but the range of options is limited to standardized sizes and colours.  Custom framing is always a preferable option.

The benefits of custom framing are worth the cost. When working with a good framer, you will get excellent advice with framing choices and materials, as well as quality work.

A few of our favorite Ottawa framers:
Wallacks Framing
Patrick Gordon Framing
Central Art Garage


The first step to custom framing is making sure you go to a reputable framer. Ask around and get recommendations. Ottawa has many great framers to choose from!


Florence Yee
painting framed with a brushed gold floating frame. Framing by Wallacks Framing.

When making your framing decisions you want to be sure that the materials compliment the work instead of fighting for attention. A useful way to approach this is to think of the matting and framing as an extension of the artwork, rather than just a vessel through which it can be displayed. Neutral coloured mats, off-whites, and creams are a versatile choice that can be successfully used in most cases. However, if you are looking for some colour then look for recurring notes in the piece you are getting framed. Consider a subtle and lighter complementary colour. Regardless of the colour you choose, mattes in a lighter shade are generally preferable and give the work some space to breathe.

We chose a soft dove grey matte here with a deep brown wood painted frame to compliment this illustration. Framing by Wallacks Framing.

More dramatic and ornate framing benefit some pieces while others need a subtle and modern frame. Think about how strong the piece is visually and whether a bold frame will better the piece or overwhelm it. If so, step down to a frame that is lighter in colour or width.

It is always helpful to ask the framer’s advice. They are well equipped to make recommendations based on the piece, where you will be hanging it, and the aesthetic you are looking for.  


Rémi Thériault, Vimy Memorial, photograph in a modern white shadow box frame with UV plexiglass.
Framed by Patrick Gordon Framing.

Glass may be clear, but it isn’t any less important to framing. Your choices of glass make a crucial difference in the appearance of the work and the longevity of it. Regardless of the quality of glass or plexiglass, non-glare glass is preferable. Museum glass has higher archival properties, including a conservation grade UV coating and stronger prevention of glare and reflections. Museum glass is the gold standard, but plexiglass is less expensive and lighter. Plexiglass also supplies an anti-reflective surface that filters out 50-75% of UV rays. Consider these differences when making your framing decisions as they will affect the cost and appearance of the final product. Museum glass may be the ideal material, but plexiglass is still a good option if you are looking for a lower cost or have weight restrictions for hanging. 


Amy Thompson artworks, beautifully custom built and framed by Danny Hussey, Central Art Garage are a true extension of these artworks.

It is important to note that your choice of frame will greatly impact the feeling and aesthetic of the room in which it is hung. Be mindful of the space in which you intend to hang it as well as how you want it to feel, and of course what the piece itself evokes. White or black frames generate a modern and powerful aesthetic. For a softer vibe, try light coloured, pale woods. A middle ground would be medium to dark neutral woods.

Classic black, natural wood, and white frames are our favourites in general. They have a wide application and reflect the contemporary aesthetic in our gallery. 

Christine Fitzgerald's Threatened series framed in white shadow box with UV plexiglass. Wallacks Framing

It's very satisfying to see a piece you love accentuated by good framing! Use these tips as a starter as you get introduced to the wide world of framing. 

You can also call Studio Sixty Six’ director and designer Carrie Colton for more information. You can reach her at 613 355 0359 or by email at and she will happy to guide you further. 

How to Build an Art Collection

Posted on June 01, 2019

The building of an art collection is influenced by a number of factors. Some consider their collection to be personal, an extension of themselves. Others may seek a more formal collection that is a reflection of more focused factors, such as exclusively contemporary Canadian artists. Regardless of intentions we want all of those who visit us at Studio Sixty Six to have the tools they need to make their own decisions about art, to build a collection that resonates with them and is an ongoing source of joy and pride. So for our monthly compilation of Carrie Colton's Art Tips (featured on our instagram story highlights,) we have focused on what it means to build a collection–where to start and how to make decisions. 

Buy From the Heart

Troy Moth, Burnt series, photographs. Rémi Thériault, Front series, photograph

Arguably the most important factor in building an art collection, or at least what should be at the core of it – buy from the heart! Regardless of the formal and technical values that we can lay on art, we believe that the main reason to buy a work of art should be based on whether you love it or not.

Take Your Time and Research

Leslie HossackKosovo series, photography

Part of buying from the heart is also finding out what you love and why you love it. So take your time and do some research. Start following the instagram accounts of artists, art galleries and visit local galleries who can answer your questions. Make this a fun process of discovery! 

Why Do You love It
Rémi ThériaultFront series, photography

We mention that it is important to find out what you love and why you love it. Of course, that’s an easy question to understand, but it can be difficult to put your feelings about art into words. Here we have some questions that can help you get started in this process

  • Does it remind me of my own stories?
  • How does it make me feel?
  • Do I like it for the ideas it communicates
  • Is it that it’s old, new, local, foreign, big, small, round, square, etc…?
  • Does it inform my perspective on some aspect of my life?
  • Does it portray or present things in new and interesting ways?

Other Factors

Amy Thompson, Monument series

After the emotive qualities of work, you can also consider the technical factors that can affect the price of work. This is important to consider as it will affect your decisions whether you are conscious of investing in collection or working within a budget.

The rarity of a piece will greatly impact the price. A print edition that is 1 out of 100 will be priced significantly lower than a piece that is one of a kind. The medium of the piece will contribute to the pricing as well. A work on canvas is often more valuable than one on paper. Both of these factors are also greatly impacted by the artist’s career and the gallery they are represented by. A well established, award winning artist who has a respected reputation will be priced much higher than an emerging artist who is just starting to exhibit their work. This reputation will be amplified by the gallery. A reputable gallery provides you with a guarantee of the value of your art purchase. Furthermore, galleries are built by the discerning tastes of their curators and/or directors, providing the gallery with a personality that can help you find styles of work that you like. For example, some galleries may be more contemporary with variety of mediums, while others may be more traditional, or exclusive to one medium. It is very helpful to be aware of the reputation of the gallery you are buying from and what styles they lean towards.

Considering Budgets

Guillermo Trejo"It is about Plants, Modernism and Other Things" series, wood cut prints

Perhaps the most disliked, but certainly the most unavoidable, determining factor of building an art collection–the budget. Setting a budget and understanding what you are comfortable spending on art will be an immense help whether you are deliberately building an art collection or if you are just looking to buy a piece here and there. It is helpful to work within these constraints. If you fall in love with a piece it is okay to splurge (if you are able to,) but the last thing you want to experience is buyers remorse over something that should bring you joy.

These five base elements to building a collection can strengthen your collection and provide insight into the art you like, as well as the art market itself.

As always, you can call Studio Sixty Six’ director and designer Carrie Colton for more information. You can reach her at 613 355 0359 or by email at


How to Hang Your Art Like a Pro

Posted on April 04, 2019

Painting by Studio Sixty Six artist Florence Yee, framing by Wallacks Framing

Art Collections are built with passion and selected based on personal taste and interest. More often than not it results in an ever-growing collection but your walls aren’t growing with it. So how do we mitigate this problem while also presenting the work in its best light? Whether you are hanging your first piece in your home, adding to a growing collection, or rehanging a well-developed collection it is beneficial to know the standard rules of hanging, when to break them, and how to arrange work in a polished and focused display. 

Art galleries such as Studio Sixty Six are well-versed in the practice of hanging art and while we do offer advice and services, such as hanging work and curating collections in homes and offices, we want to help you learn about hanging practices and how to do it yourself. We’ve collected our March hanging art tips and compiled them into a handy blog post.
Painting by Studio Sixty Six artist Natalie Bruvels

The ‘where’ of hanging work involves more than just choosing the room and wall where it will be placed. There are many decisions that need to be made for an artworks placement. We have provided you with a couple of starting points that will take the guesswork out of your hanging placement. 
Height Standard and Mid Points: 
The basis for hanging work is finding the middle point of the work and knowing the standards. The general standard for hanging height is 56-60 inches. (Roughly the eye level of your average person.) What this means is that you want the middle point (in height) of the artwork to hit 56-60 inches high on your wall. Here’s a list to use as a quick guide for this:
1. Where 56-60 inches from the floor up is on your wall.
2. Measure the total height of the piece you are hanging.
3. Divide this in half and measure that amount up from your original mark.
4. Find out where the hanging hardware sits in relation to the top of the frame. (ie: hang ing wire, hold as though it were being hung and measure the distance between the top, middle of the wire and the top of the frame.)
5. Measure this distance down from the last mark.
6. Install so that your hanging hook’s bottom sits at this mark. 
Exceptions: When to Break the Rules? When Hanging Above Furniture!

Painting by Studio Sixty Six artist Yvonne Wiegers

In cases where the work is being hung above the furniture the height standards will be different. Instead, position the work so that the bottom of the frame is 8 to 10 inches above the furniture piece. You want the artwork to be visually connected instead of floating high above. 
Printmaking on fabric by Studio Sixty Six artist Guillermo Trejo


If you’re struggling to decide where to hang multiple works and which of them to hang, the good news is that you don’t have to choose just a single one. Create groupings instead to present dynamic displays. This can be done by working with colour schemes, styles, themes, and more. Below we outline a few different ways to do this with examples. 
Example 1: Colour, Material, and Style
This example focuses on colour, material, and style. These pieces have similar colours as well as similar formal elements. While these similarities allow the work to coexist, the textural and material differences produce a subtle contrast that adds visual interest to this grouping.
Painting by Studio Sixty Six artists Gabriela Avila Yiptong and fabric artist Allyson Rousseau

Example 2: Monochromatic Colour Schemes

In this second grouping, you can see that the works play well together because of their similar monochromatic colour schemes. Visual interest is added through the differences. In this case, it is added through complimentary framing.

Example 3: Colour
Photo by Yannis Sourris, Collage by Studio Sixty Six artist Amy Thompson

Grouping artwork together by colour can produce a variety of moods. This can be done by focusing on a shared colour between the pieces themselves or working with an overall colour scheme between the works in your collection and your wall/decor colours. Shared colours in decor can emphasize the colours in the work and the mood in the room. This example utilizes the shared blue of these photo-based works along with the wall colour to create a serene and calming atmosphere.

Example 4: Group Artworks on a Shelving Unit or Bookcase

bookshelves give you the luxury to play with layers. Lean artwork along the back of the shelves, and anchor them by placing a few small pieces of art near the front of the shelves to give them depth. Here we have a combination of monochromatic artworks and small paintings that compliment the back of the shelving unit.  

Photo by Studio Sixty Six artists Troy Moth, sculpture Susan Roston, paintings Gabriela Avila Yiptong, Custom Shelving Unit by Janise Saikaley

We hope this was helpful. Now go enjoy hanging and putting your art on display! If you'd like more information, call
Studio Sixty Six' director and designer Carrie Colton, at 613 355 0359 or email her

Gaa-mazinaateseg & Animikiig - Christian Chapman
September 6th - October 7th

Posted on September 04, 2018


André René Roussimoff, 2018.  Mixed media on canvas. 

Running from September 6th until October 7th, Christian Chapman’s Gaa-mazinaateseg & Animikiig features a series of paintings and prints that predominantly focus on the artist’s memories of the times spent with his grandmother, Angelique, with whom he lived throughout his childhood.  Translated from Anishnaabe as “Television and Thunderbirds”, Gaa-mazinaateseg & Animikiig celebrates and critiques the pop culture figures Chapman grew up watching, including André the Giant and Princess Diana, while exploring the teachings and stories that helped shape his identity and artistic practice.  The artworks within Gaa-mazinaateseg & Animikiig are divided into two main themes, with the paintings exploring the cultural impact of televised media through the artist’s lens, and the prints focusing on the stories and oral traditions learned from his grandmother.


Skoden 1, 2018. Screenprint on paper; Edition of 15. 

The winner of the 2016 Premier’s Award for Excellence and the K. M. Hunter Artist Award, Christian Chapman is an Anishnaabe artist from Fort William First Nation. He creates two-dimensional mixed-media artworks that combine elements from printmaking, painting, drawing, and computer-manipulated images, while using storytelling as inspiration for his compositions.  The act of storytelling has played a crucial role throughout his life by informing him of his culture, and by shaping his identity, worldview, and personal experiences. 

Ziibaaska'iganagooday, Jingle Dress Dancer 2 (Known as the Medicine Dress), 2018.  Screenprint on paper. Monoprint.

For additional information about Christian Chapman:


IN DETAIL - Kristina Corre, Amy Barker, Kathryn Shriver
July 13 - Sept. 2nd 2018

Posted on August 12, 2018

Kathryn Shriver, Floating Display (2018). Mixed media: hand-woven glass beads, jewellery chain, found tray. Tray: 1 x 12 x 4in. / 2.54 x 30.48 x 10.16cm. Beading and chain: 42in. / 106.68cm hanging (variable).

Currently on display from July 13th until September 5th, the IN DETAIL exhibition examines the communal history of sewing, needlework, and textiles while challenging traditional conceptions of craft, raising the ordinary to the extraordinary.  Featuring the work of multimedia artists Kristina Corre, Amy Barker, and Kathryn Shriver, they explore the various cultural styles of guild work, traditionally secularized as being distinct from the realm of Fine Art as well as deemed “women’s labour”, while incorporating aspects of contemporary design to make a strong statement about the intersectionality of women’s art.

Kristina Corre, Vero (2018), Collage: Found images, ribbon, brass ring, thread and stone and vellum on watercolour paper. 18 x 22in. / 45.72 x 55.88 cm.

A life-long imaginer of new worlds, Kristina Corre is a Filipina-Canadian artist and architecture graduate whose meditative collage works explore cultural and personal identity.  She received a Bachelor of Architectural Studies and Master of Architecture degrees from the Azrieli School of Architecture and Urbanism at Carleton University in Ottawa.  Kristina’s architectural education and background instilled a meticulousness in her artistic practice, a love of materiality, and the importance of narrative within her image-making, threading compelling collage elements into her uncluttered compositions.  Her featured collage series Cat’s Cradle (2018) employs minimalist design to explore the notions of both giving and taking up space.

Amy Barker, Entwined 3 (2018). Print, hand-pulled linocut on paper, 15 x 22in. / 38.1 x 55.88cm.

Amy Barker is an emerging, multidisciplinary visual artist and art educator based in Ottawa, Ontario.  She received a B.F.A. Honours from the University of Manitoba and a Postgraduate Certificate of Education in Art and Design from Goldsmiths, University of London, England.  With a background in photography, sculpture, and printmaking, Amy’s work explores the emotional and physical connections one has to their own past, themselves, and to the people who influence and inform the person they become.  Her printed series, Entwined (2018), features the artist wrapping herself in various woven artworks of the women who have touched her life, including her family and close friends. 

Kathryn Shriver, Gold Fold (2018). Mixed media: hand-woven glass beads, brass handle, acrylic paint on wooden panel. 9 x 7 x 3in. / 22.86 x 17.78 x 7.62cm.

Kathryn Shriver’s handmade beadwork strings together beads in a beautiful yet disquieting exploration of cultural creativity and dismantles the hierarchy between Art and Craft. She received an MFA in Painting and Drawing from Concordia University in Montreal and a BFA in Studio Arts from Wells College in Aurora, NY, and has also studied New York and Paris and exhibited throughout Canada and the United States.  Through her utilization of painting and design techniques, Shriver’s work focuses on the ways in which materials themselves and making processes can influence public perception and valuing of made works along the shifty spectrum of Art and Craft.  Her beaded paintings, or ‘wall jewellery’, examine craft methods and materials of fashion and interior design industries and how they raise three major points of contention within the art world – that of decoration, function, and trendiness.

Corre, Barker, and Shriver undertake a quest that focuses on bringing attention to the historical and cultural significance of Craft, and assert its importance by incorporating a mixed-media format.


Studio Sixty Six is a contemporary art gallery devoted to showcasing unique, thought-provoking Canadian art located at 858 Bank Street, Suite 101, in the Glebe. This is our official blog, where we share what's happening at the gallery, as well as in the broader fine art and design communities of Ottawa.

Recent Posts

A message from Studio Sixty Six regarding COVID-19
Posted on March 21, 2020
Posted on December 19, 2019
Guillermo Presents: Rupert Allen
Posted on September 18, 2019