From examining the Archibald Prize Winner's engagements with frames, it was observed that art nouveau frames predominantly border portraits which were painted prior to the 21st century or have been painted in reference to a traditional art style.

The decorative frames suggest an importance of the artworks that are captured within. Their antique presence indicate that their inhabitant is worthy of the bold, embellished contextualisation. However, contemporary artists and commissioners challenge this assumption. For example, figure 1 is a painting of a doctor from World War I. The subject offers no historical notoriety however, has been heralded and deemed worth of a striking art nouveau frame by the painter.

In reference to the EAP, it is proposed that the sentimental value of the relationship between those aging in place and their support/family/community members may be subjectively portrayed through the utilisation of a ornate frame. However, the concern that this may contribute to the commodification of fine art is also appreciated.

Streamlined, minimalistic frames were also heavily featured throughout the exhibition. This conservative style of framing was used to accent typically modern portraits which were to be contextualised within a formal environment. For example, figure 2 is a painting of Paul Keating, the 24th Prime Minister of Australia. This painting was hung in parliament house, an arguable formal establishment which reflects modern ideologies.

It was observed that the fine, untextured edges seek to draw no attention away from the artwork that it contains. In opposition to the art nouveau style of framing, the minimalistic frame relies on the presence of the artwork to communicate its significance.

In regards to the EAP, the use of a minimalistic frame's form language may appeal to the general aesthetics of those aging in place. However, the difficultly in personalising and embedding emotion into this style of frame will need to be considered.

Custom Frames were featured throughout the exhibition. For example, figure 3 shows an image of a frame which has almost double the surface area of the painting. The painting itself is a mere 13.5cm by 18.5cm. Therefore, it is theorised that a wide white frame was enlisted to provided the artwork with greater visual presence against the black background.

The minimalistic, framed margin given to the artwork, provides the work with "breathing room" from the external environment. This may allow for greater engagement with the highly detail, miniature piece.

In reference to the EAP, explorations of how I may design the contextualisation of the design intervention is to be considered. As the design outcome is to be placed within the highly personalised environment of a home, the final product must demonstrate aesthetic flexibility.

Light was explored within Robert Wilson's Moving Portraits exhibition as a sense making tool. For example, figure 5 shows two ambiguous, abstract artefacts made from scraps of metal. However, when a light is shone onto them, the silhouettes of two faces appear. These silhouettes are not discernable from observing the physical form alone, hence relying on the presence of light to have the utility of the piece realised.

The experimental portrayal of an artwork's subject, demonstrated in figure 5, highlights the value of an audience's perspective and perception. For example, if the light was to be positioned incorrectly, then the perspective of the faces would be warped and the artwork's purpose would be inappropriately communicated. Similarly, if the audience strictly observed illuminated metal artefacts then again, the value of the artwork would be lost. These conditions highlight the importance of making informed design decisions when considered how a piece is to be interpreted by an audience when it is experienced in different environments.

In reference to the EAP, light has begun to be explored by the artwork and doorframe concept however, there is an engaging opportunity to further design towards the role of light. I speculate whether this may take the form of user interactions being designed through light.

While there's an artistic staging to Robert Wilson's video portraits, the authentic presence of life permeates through the pieces.

From engaging with Robert Wilson's video portraits as a spectator, it was experienced that the video recordings were an artistic, although disconnecting, way to bring the presence of another into a physical space. The one-way interactions (in which the video subject did not appear to respond to audience interactions) were found to be quite disconcerting. The lack of audience acknowledgement made it difficult to emotionally invest in the piece, as the unwavering stares made the spectator feel as though they were the spectacle for the artwork. Additionally, the high quality, unframed digital screens, used to present the videos, made it feel as though you are looking through a window and invading into another's space.

In regards to the EAP, Robert Wilson's video portraits have highlighted the importance of considering user interactivity when designing an artefact which conveys the presence of another. While it was observed that the video presence of an individual is highly comprehensible, a more symbolic presence of a loved one will continue to be explored by the EAP.