These are some new paintings along with some old paintings. Many of them were paintings I haven’t had access to for various reasons. I’m in Burns Lake for the summer and I’m planning on doing a lot of painting while I’m here so stay tuned, more art on the way.
11 x 14 Acrylic on Canvas
8 x 24 Acrylic on Canvas
18 x 24 Mixed Media on Canvas
8 x 10 Acrylic on Canvas
14 x 18 Acrylic on Canvas
8 x 10 Oil on Plywood. Painted at Nicolson Bay, Burns Lake
18 x 24 Acrylic on Raw Canvas
16 x 20 Acrylic on Birch Panel
16 x 20 Oil on Canvas
I’ve been working steady on my paintings and I haven’t finished any of the big projects I’ve been working on but I decided to post some of the smaller things that have been going through my head. The painting titled “Cathedral” was started in 2012 and then left to collect dust since then. As it was painted on raw canvas I was worried about its stability over time so one of the reasons I went back into it was to try to improve its longevity. When painting on raw canvas there are several issues that can become apparent over time, if the fabric isn’t washed before being painted on it will discolour over time due to chemicals in the fabric. And, if you use anything but distilled water on the canvas that can also cause issues with stability over time. The single biggest problem with raw canvas is that it’s very hard to clean and accumulates dust over time. So, in addition to reworking the painting I made an effort to improve its durability. I’ve been moving away from raw canvas lately but continue to use it in certain circumstances.
24 x 36 Acrylic on Raw Canvas
Detail of Cathedral Painting
The other painting in this post (the 18 x 24 untitled) is as durable as paintings can be. Stretched on washed and gessoed canvas, protected for support induced discolouration (SID) and then coated with two layers of a GAC-500 isolation medium and finally varnished with a UV resistant, removable polymer. Paintings done like this one are easy to clean and can last a very long time without changing at all.
18 x 24 Acrylic on Canvas
And here are a few others I’ve been working on lately, they’re not really related to the others. One is acrylic on paper, just a sketch. The others are on rigid supports because of the heavy impasto techniques used, they’re an experiment in “mixed media.”
16 x 20 Mixed media on hardboard
8 x 8 Mixed Media on Panel
Acrylic on Watercolour Paper
Here are some new pieces I’ve been working on, more than half are unfinished but it’s always good to get feedback. Let me know what you think.
12 x 18 Oil and Wax on Canvas (Unfinished)
12 x 18 Oil on Canvas
20 x 40 Acrylic on Canvas
Essence on Paper (only had two colours for this one)
16 x 20 Acrylic on Canvas (Unfinished)
14 x 18 Watercolour on Treated Canvas (Unfinished)
Gum Arabic and Dry Pigment on Canvas Board (Here I was trying a method used to colour daguerreotype photographs over 100 years ago, gum arabic was applied to the silver plates then dry pigment would be brushed onto the surface. Looks beautiful in the old photos but obviously canvas board is not the ideal surface for this application.)
8 x 16 Resin Sand and Acrylic on Canvas
18 x 24 Acrylic, Gesso and Ink on Raw Canvas and Muslin (Unfinished)
22 x 30 Acrylic on Raw Canvas. This painting is an example of the flexibility of acrylic paint on raw (unprimed)canvas. Even though the painting is old it is showing no signs of decay.
Acrylic paintings much less fragile than oil paintings. Acrylics are basically plastics, so using them on a canvas is like sealing that surface with plastic and can actually add to the longevity of the surface. For this reason it’s perfectly possible to use acrylics on raw canvas or other textiles without them negatively impacting the substrate. Gesso will still increase the life span of the painting but the acrylics will not eat away at the support like oils or solvents do. Additionally, many acrylics now come with a UV protective agent which helps to protect the painting from the harmful effects of the sun.
22 x 30 Acrylic and Gesso on Raw Canvas. In this example the background blues are painted on raw canvas, the black is a coloured gesso which gives an additional dimension to the painting.
Mine Fire (2005) Unstretched. Oil on Raw Canvas. This was an experiment I did years ago to test the effect of oils on raw canvas. After eight years the paint has faded considerably and the canvas itself is badly deteriorated. The paint I used was linseed oil based.
Some years ago there was an art gallery in Vernon B.C. called the “Fugitive Art Gallery.” The gallery hosted mainly artists who were not overly concerned with the permanency of their art, this made it a very interesting art gallery. The paintings would crack, colours would fade and the canvases would rot over time. True to it’s name, the Fugitive gallery itself did not last – as interesting as it was.
When deliberate, non-permanency can be an interesting subject – everything changes and fades over time, nothing is really permanent but the art should at least outlive the artist. A large part of this is selecting the appropriate surface and correctly preparing it. For example, oil paintings require a durable surface protected from the damaging contents of oils and solvents. Canvas is fine but it must be protected by a ground of some type (usually gesso), I find that the primed canvases available in most art stores are not sufficiently protected to seal the canvas from the oil over the long term, this is especially true when the paint has been heavily diluted with additional oils. If insufficiently protected the canvas will eventually rot so I recommend at least one or two additional coats of gesso to protect the canvases you buy in art stores.
26 x 32 Oil on Primed Canvas
Back of “Mine Fire,” painted in 2005. This was an experiment I did years ago to test the effect of oils on raw (unprimed) canvas over time. Eight years later the result is deterioration of the canvas, this will eventually cause the destruction of the painting.