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HomeDesignMary Graham on the unpretentious pleasures of decorative art

Mary Graham on the unpretentious pleasures of decorative art


Mary with her dachshund Connie at home in Yorkshire.

Mary with her dachshund Connie at home in Yorkshire.

Simon Brown

In a world in which traditional collecting can feel exclusionary or aloof, decorative art offers something gentler: a way to celebrate what we find beautiful, without pretence or pedigree. These aren’t our grand acquisitions, but our humble treasures, such as a row of antique plates, a framed textile or some travel sketches. They may be modest in value, but they are rich in meaning, speaking to lived experience, and bring a deeply personal rhythm to our interiors.

One of the joys of decorative art is that you can display the most ordinary items in a way that makes them extraordinary. In my mother-in-law’s kitchen, a colourful 1920s men’s bathing suit once worn by her grandfather has been cleverly framed. It’s personal to her and the starting point for conversations in a way that more formal artworks rarely would be. But it’s important not to get carried away: there’s a fine line before things feel gimmicky – and a sort of delirium that comes from realising you can frame anything – so approach with restraint.

In her bathroom framed postcards and antique china add to a layered look set off by green paintwork

In her bathroom, framed postcards and antique china add to a layered look, set off by green paintwork

If, like me, you’ve been rearranging rooms since you were a child, experimenting with decorative art is a great way to regularly change up the look of your home. We often hang plates from Etsy in an interesting layout, or add plaster casts around a doorway. I’ve a collection of antique hand-held face screens, collected on family holidays, hanging above the off-centre fireplace in my bedroom. Their irregular form is so much more forgiving than the rigidity of a rectangular piece of art or a mirror.

Using a picture rail can aid with flexibility and makes hanging a disparate group of pieces so much easier – and more intentional. In my drawing room, I have a grid of antique architectural prints (bought mainly because I liked the frames) surrounding a mid-century Spanish landscape from an antique dealer (my husband loves Spain and I loved the colours used). There are also some contemporary en plein air landscapes and Swedish interior oils – all united and given a sense of intention by the fact that they hang from the same brass rail.



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