Mount makers play an integral role in the museums and galleries sector, responsible for delivering bespoke display solutions to the varied objects and artworks that visitors will encounter.
But if you think their job simply involves the technical craftsmanship of making mounts, then read on to find out how artist and mount maker Christian Bishop utilises skills in problem-solving, communication, restoration, carpentry, research and more to excel in the profession.
Bishop comes from a background of studio practice, graduating with an Honours degree in Fine Art at RMIT University, in Melbourne (Australia), before working across photography, printmaking, sculpture, film and sound as a multidisciplinary artist. He is also an electronics musician who performs under the alias Bacchus Harsh (previously known in music circles as Xian).
For over 15 years, Bishop has lent his skills in the industry, from concept design and set construction to art handling, installation support, project management and curating, while learning new ones along the way.
In 2023, Bishop co-founded Otherly with Ana Tiquia, specialising in installation, fabrication, mount making and display solutions for clients.
Here, he shares what makes the job ever-changing, the biggest challenges (gravity and unruly children), and the most memorable project he has worked on in his career so far.
In this article:
How would you describe what you do?
I co-run Otherly, a Naarm/Melbourne-based business specialising in art and museum services. As a team of artists and arts workers, we collaborate with museums, universities, galleries, artist-run initiatives (ARIs), community organisations, and fellow artists and curators.
As a specialist mount maker, I play a crucial role in supporting the display of objects with personal or cultural significance. My work involves listening, consulting, assessing objects and understanding their unique requirements for display. This process includes designing, fabricating and installing mounts, supports and armatures for the exhibition or storage of artworks and cultural materials.
In addition to designing and fabricating mounts, problem-solving is a central aspect of my role.
Cultural awareness, material knowledge, and an understanding of various processes and methods are essential. Strong communication skills are equally important, as effective mount-making depends on understanding the needs of a diverse exhibition team. This team may include curators, conservators, collection managers and designers, as well as specialists such as engineers, cabinet and case makers, fabricators, electricians and AV technicians.
How did you get started in your career as a mount maker?
My career started with a passion for creating and a hands-on approach to problem-solving. As an artist, I began by installing my own artwork and assisting friends with their projects.
Before this, I had built up a broad range of skills through diverse roles, including restoring antique show rides, carpentry, bricklaying, landscaping, signwriting, warehousing and project management. At first, these experiences seemed unrelated, but I soon realised how transferable they were to the art world, particularly in the technical aspects of installation and display.
This realisation inspired me to start working as a freelance art installer, which led to opportunities as an art handler and exhibition technician. Over time, my career evolved and I became a mount maker, exhibitions project manager and, ultimately, the co-director of Otherly, where I now channel all those skills into supporting the arts.
What’s an average day or week like?
At Otherly, no two days are the same, as we work with a wide range of clients and projects. The nature of the work constantly shifts, and in the arts industry ‘average’ days don’t really exist behind the scenes of museums or galleries!
I’ve designed and built mounts for an incredible variety of objects, from sabre-toothed tiger fossils and famous soccer jerseys to Ai Weiwei artworks, vintage synthesisers and even a phone shaped like ‘Alf’ the alien for the National Communications Museum. Recently, we installed a four-metre tall grandfather clock for the ANZ Banking Museum, which involved engineers, logistics and teamwork.
My time is split between the workshop, on-site installations and project management tasks like designing mounts, scheduling and research. Some days are hands-on, requiring quick problem-solving, while others are focused on planning and logistics. The work is always diverse – one day you’re delicately handling ancient ceramics, and the next you’re welding steel in the workshop. It’s this variety that keeps things exciting!
What’s the most common misconception about being a mount maker?
The most common misconception about being a mount maker is that it’s purely a technical or manual job – just building brackets or supports. In reality, it’s a highly creative and collaborative role that requires imagination, a deep understanding of the objects you’re working with, their cultural or historical significance and the needs of the exhibition team.
The level of problem-solving involved in mount making is often underestimated. Every object comes with its own set of challenges, whether it’s fragile, unusually shaped, extremely light or heavy, or requires specific environmental considerations. Factors like gravity and even the unpredictability of curious visitors, especially unruly children, play a significant role in how mounts are designed.
Creating mounts isn’t just about functionality – it’s about crafting solutions that are subtle, secure and elevate the viewer’s experience without detracting from the object itself.
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Another misconception is that the role is isolated, but it’s quite the opposite. It involves constant communication with curators, conservators, designers and other specialists to ensure every detail is considered. It’s a blend of art, engineering and teamwork – it’s far more complex and dynamic than many people realise.
If you were interviewing someone for your job, what skills and qualities would you look for?
I’d prioritise someone who is enthusiastic, passionate and thinks outside the box, with technical skills and creativity coming next. They should be confident working with materials like metal, wood and acrylic, and skilled with tools and workshop equipment. Careful handling of fragile or culturally significant objects is essential, along with an understanding of conservation principles and the use of safe materials. Strong communication skills and the ability to think quickly and adapt to challenges are also key qualities.
What’s the most challenging or memorable project you have worked on?
One of the most memorable projects I’ve worked on was the Datim Datim exhibition at Bendigo Art Gallery. This exhibition showcased recently repatriated First Nations objects that were stolen and taken to be displayed at the 1878 World Fair in Paris.
The project involved close collaboration with the Dja Dja Wurrung Clans Aboriginal Corporation, Djaara Elders and Traditional Owners to ensure their culture and stories were told from their perspective, rather than an outdated and inaccurate Western view. Working with a team of First Nations curators, we redefined the traditional European display model – which was entirely wrong – and instead designed an exhibition that was fully informed by First Nations knowledge. This included a different cultural understanding of time, relationships and grouping of objects, including male and female objects, and identifying the proper orientation of objects.
I felt proud to be part of a project that supported a First Nations community and helped reshape how cultural objects are displayed in a contemporary museum context. The collaboration with the community was key to understanding and sharing such an important and charged history. It reinforced for me how important mount making can be when done collaboratively – how your culture is presented and shown to others is important and has impact.
What do you think your job will look like in 10 years?
I’m passionate about training and mentoring the next generation of mount makers and installers. In my experience, there’s been too much gatekeeping when it comes to sharing knowledge about art handling and exhibition display processes and techniques.
Looking forward, I see a future where mount making, exhibition materials and processes are more sustainable and thoughtful. With advancements in technology, I believe 3D scanning and printing will play a major role in how objects are assessed and mounted. While traditional methods will always be crucial for displaying historical objects, I’m eager to see how new materials, processes and techniques evolve; this is something we’ve begun exploring at Otherly.
I hope to see greater diversity and representation in the art technical workforce, with more women, trans and gender-diverse individuals contributing their skills and perspectives.
I’m also deeply committed to improving the rights and working conditions for arts workers, ensuring they are better supported by employers. Arts technicians, including mount makers, bring so much specialist knowledge, experience and sometimes many years of formal art education and training to their work. I’m really passionate about making sure arts technical work is valued – to ensure a sustainable future for arts workers and the arts in Australia.
