My Art Studio and Supply
Archival Quality and Found
Art Supports and Materials
I strive to provide exceptional archival quality of my paintings for the art lovers and collectors, while using most sustainable, minimalist, and environmentally friendly methods of producing hand-made art.
I primarily work with single-pigment professional paints that have highest lightfastness ratings. Most of them are made from minerals.
My art ground of choice is 100% cotton - canvas and rag papers, hand and mould made from natural materials without use of animal products.
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, which does not require framing or matting, and they framed and presented 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.
Canvas and Cotton Paper
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.
Pigments and Mediums
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.