I strive to provide exceptional archival quality of my paintings for the art lovers and collectors. I primarily work with single-pigment professional paints that have highest lightfastness ratings. My ground of choice is 100% cotton - canvas and rag hand and mould made papers.

I paint with ethically sourced or synthetic brushes and self-made tools, using eco-friendly materials whenever possible and reasonable. Occasionally, I use archival quality (pH neutral) or found papers and textiles, preferably recycled or repurposed. My studio is minimalistic and now has a view into my orchard.

Most of my paintings can be exhibited with exposed edges, or framed according to the customer's wish. I do not use wooden surfaces or support structures.

Almost all my works are sealed with clear isolation layer, with additional UV protection for permanence if needed.

When I work on canvas, I usually apply foundation grounds myself - a toned gesso based on acrylic polymer, to which I add marble dust and pigments. Sometimes I stain canvas first and seal it with a clear acrylic medium. I prefer unstreached, heavy cotton, unprimed canvases, and avoid working on anything that includes new wood - for environmental and ethical reasons. If my technique calls for a harder ground, I search for artist grade recycled canvas boards, or mount cotton on sealed found objects.

When I work on a cotton rug (heavy watercolor paper), mould made whit 100% cotton, without optical bleaching, chlorine and acid free - guaranteeing long conservation and inalterability. I prefer rough unpressed surface and a special formula of sizing, Italian Fabriano Artistico being my favorite brand (no animal by-products used). 300 gsm (140 lb) is the best paper weight for me - heavy but still flexible.

My main mediums are acrylic polymers of various properties, gum arabic, and distilled water. 

Pains I choose by quality and ingredients after a substantial research and testing. Ideal pain for me should be single pigment of lightfastness 8 on the Blue Wool Scale, ASTM excellent, have high pigment load with minimum and only necessary additives.

I often manipulate permanent pigments like iron oxides in my own way by making paints, sticks, pastes, and tools to apply them to pre-treated surfaces.

My palette was always narrow, and I create even more limited color palettes for each series or a single painting. From the pigments I keep in the studio, about 9 permanently and up to 24 at times, I choose only 2-5 for an artwork, often splitting the range even further for layers.

In acrylics, my favorite brand is Golden for both fluid and heavy body paints and mediums. Any synthetic long-handle filbert brush would do. The only preference I have is the Da Vinci Cosmotop-Spin 5584, pointed oval wash, #16 and up, I had mine for 20 years.

In aquarelle, I choose tubes from Da Vinci, Winsor & Newton, and Daniel Smith. My favorite watercolor brushes are Princeton Neptune (#4750 Synthetic Squirrel): Flat 1", Round 12, Mottler 1-1/2", Dagger 1/2, followed b Mimik Kolinsky Round 16, Mimic Round 30, 12, 6, 4, 2, Wash 3", Rigger 2, and finally Sterling Edward's large brushes.

Please message me if you have any questions.


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