All acrylic paintings tend to stick to wrapping materials, so it’s important that nothing touch the surface for very long. My paintings also involve the use of materials that may gradually change as they continue to interact and respond to each other, to light condition, and to the passage of time. These changes are part of my Testing exploration and process.

PLEASE SAVE & USE THE WOODEN CRADLE – it’s the only safe way to handle my work.
My work leaves my studio floated inside a wooden cradle that was made for that painting, to insure that the surface doesn’t touch anything. The surface is an acrylic resin which remains slightly sticky & pliable like a gummy bear, and it’s easily damaged. After years of trying every other wrapping method, I’ve found the cradle to be the only safe way to transport & store my work. My galleries should deliver each painting in it’s cradle. If not, ask for it – it is part of the work.

To clean the surface: the best way to clean a dusty surface is to start by blowing or using compressed air, (so you don’t rub grit into the surface). Then gently dust with a soft microfiber cloth or a tack cloth. It’s okay to use a damp cloth – water won’t hurt the varnished surface at all***. Some marks can be removed with water, a bit of saliva, a “magic eraser” or isopropyl alcohol diluted with water. Avoid buffing the surface with excessive rubbing or pressure, as this will change the sheen of the varnish in that spot.

*** Exception: please don’t use any liquids to clean works that have a green “ATUM” sticker on the back. Such paintings have a different coating called Acrylic Topcoat Ultra Matte, which will be damaged by liquids.

Light: strong light can affect the painting, causing certain stains to shift in color over time. Though the idea of change is integral to the work and should be expected as part of the Testing process, it’s best to protect the work from constant direct sunlight unless the piece is part of an ongoing Sun Test exposure study.

Yellowing: some paintings will have a mild “vanilla” or “white chocolate” background tone, with some variation depending on the thickness of the resin and the other materials used. This tone may intensify a little over time, but the resin is stable and it won’t crack or otherwise deteriorate. The yellow quality can usually be lightened a bit with brief exposure to sunlight for a few days – just be sure to keep the exposure as brief as possible.

Shipping & Storage: 
Always store and transport the painting in it’s wooden cradle if you have it. 
Don’t wrap it in anything – no plastic, or glassine, or paper, or bubble wrap or any other material.

If you no longer have the cradle you can temporarily use a clean, flat, smooth piece of acid free foam core as a facing board before wrapping in other materials. Please don’t let anything else touch the surface – I have not found any other material to be reliable. Acid free foam core is less likely to stick to the surface than regular foam core or other board, but only for a short time. Cut the foam core slightly larger than the painting. Be sure to dust off any grit or debris from the board, and from the surface of the painting. Place the facing board against the painting, then lightly wrap the package in bubble wrap or other packing material. Don’t put any pressure on the surface of the painting, otherwise the board might stick to it. For longer term storage the painting must be floated so the surface doesn’t touch anything. I’m happy to provide a drawing of how to build a simple cradle – just get in touch.

Repairs: If the surface is damaged I can sometimes repair the piece by stripping off the old varnish and re-varnishing the painting. The price for such repairs depends on the size & extent of the damage – contact me or my gallery for details.

Questions? Just get in touch….