The material makes the painting.
Traditionally, painters work on canvas, linen, or panel, but there are so very many other options.
detail of Potential Meal-ticket 2006
acrylic on canvas patchwork
Even within the most obvious category of cotton duck, there are possibilities. In this detail image for example, two different kinds of canvas have been stitched together, the finer weave showing a smoother surface on the right. A coarse canvas provides me with more texture, something that can be attractive at times. Then again, I can also go for linen’s extra fine weave, as in this painting (more visible in this detail image).
I buy full bolts of canvas, and, since I cut it for different sized frames, I’m often left with scraps that are useless unless sewn together. But painting on canvas patchwork isn’t just a matter of avoiding waste: I also happen to like the texture of the seams.
detail of The Next President Of The United States 2007
acrylic on denim
Denim and twill are very similar to canvas, but they have a subtle diagonal ribbing, running from the upper left towards the lower right in this example. Twill is a fairly flimsy fabric and, when I stretch it on a large frame, I back it with canvas (stretching first the canvas, then the twill over it, and finally priming the twill). This is something I also do with bird’s eye since it is not as sturdy as canvas. If I don’t back these fabrics, they are more likely to warp with priming.
detail of After: Breast Enlargement Surgery 2007
acrylic on bird’s eye piqu&eactue;
Bird’s eye is one of my favorite alternatives to canvas. The name of the fabric refers to the repeated oval shapes that are embedded in the weave of the material. The bird’s eye pattern almost makes the paint look like newspaper print moray in places.
detail of Jack Wakeland (Bear-Scarer) 2006
acrylic on monk’s cloth
In my experience, the only thing that comes close to monk’s cloth for usable texture is burlap, and that has a softer look. Monk’s cloth has a more specific feel because of the rigid grid-like pattern of the woven ribbons. Both monk’s cloth and burlap also require backing of some kind (even if the frame is small). Their weaves are so loose that you can see through to the wall behind the painting unless you back the fabric.
detail of Beatrise (Nuturing Important Relationships) 2007
acrylic on panel
Panel reacts to paint much differently than fabrics. It’s almost as if each bristle of the brush is visible in a brushstroke on panel. And then, too, in this detail you can see the pooling of watered down white paint on Beatrise’s cheek. Panel does not absorb moisture in the same way as fabrics do. There’s a luminosity to paint on panel, to be certain, but, if I’m not careful, there’s also, a bit of a plasticky or magic marker look too.
I love to experiment, but I never stray away from natural fabrics since the primer and paint bond better with the non-synthetic materials.
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CATEGORIES: - Practice -
Dr Isabel Aimee...
wonderful artist you are! I love the way you see colour! DO contact me, i run an art gallery in South west England- near tot he Glastonbury festival site. x Isabel Aimee
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