I have worked in archival framing, art restoration, and custom frame design and fabrication for 35 years. I wanted to work in broadcasting and advertising in 1984, having earned degrees in art history and marketing.

After an opportunity meeting with the proprietor of a family run outline shop in Chelsea, New York City, I ended up on West 22nd Road apprenticing as a casing creator and assisting with developing the little atelier that at the time outlined for the Gallery of American People Craftsmanship, IBM and a pack of downtown workmanship gatherers.

I grew up making workmanship. On Long Island, my father was an artist and an art teacher. I went through ends of the week and summers voyaging and visiting the galleries of New York City and its environs. I spent my childhood immersed in the arts and crafts movement; I had always been naturally creative.

I wound up assuming control over that little atelier and begun Goldfeder Outlining Gathering, a little craftsmanship exhibition and very good quality recorded outlining studio. With my creative capacities, good judgment, and unyielding interest, I set out on a long lasting enthusiasm of protecting workmanship and planning outlines, digging profound into the historical backdrop of plan.

I became a business owner, a woodworker and finisher, and a handler of fine art overnight. Within a short period of time, my small art business established itself as a market leader in frame design, preservation, and care for art collectors. I began exhibiting my work in museums like The Whitney, MOMA, and The Metropolitan Museum of Art after receiving recognition from art restorers and conservators.

In 1990, with an extending client base and another name, GK Outlining, I moved to a bigger studio on west twentieth Road in Chelsea, dramatically multiplying my area. Presently arranged on the cusp of the stylish Flatiron Region where top creators resided and worked, we approached into the inside plan and design networks.

The reputation of GK Framing grew. We established ourselves as a center of research and development for art-extending materials; this included items made by my glass manufacturer. Together, we began investigating and evaluating high-end art made of optically coated, UV-filtering glass. In a turn of favorable luck, my phenomenally educated glass expert presented to me his straightforward, intelligent/hostile to intelligent covered transmission glass to test. He and I dug further into utilizing his organization’s particular, water-white, low iron, optical quality, reflection control glass, and consolidating GK’s significant stable of casing plans to make A definitive Mirror television.