SH: We’ve noticed that sometimes you hang, sometimes you prop pieces against one another, and you also use a lot of easels.
BW: It’s about balancing different heights and scale to keep the eye moving. I’m sort of a fanatic about easels. It started with a 19th-century iron one I found in Parma, Italy, that I’ve carried around with me forever. But I also like leaning and layering art on top of art. It humanizes it and makes it seem not so fine. I do that because I see life in vignettes—as much as the whole room is important, the moments within it are even more so.
SH: What are some of the most common mistakes you see with art?
BW: A lot of it is hung too high. Or there will be too big of a painting on too small a wall. Not giving things enough air, even around an image. I’ll often take a small photo and put it with an oversized mat because it draws your eye in. Flimsy mats are another pet peeve—I prefer 8- to 16-ply. Even your child’s art can be really something if it’s beautifully framed, and bad framing can kill anything.