Cleaning and retouching

My paintings get dust and ‘fuzzies’ on them as they slowly dry. I do not like to see vivid white cat hair clinging to ivory black. I am not 100% sure about how to temporarily varnish them and then remove that varnish later (after the paint has dried for at least a year!) only to re-varnish.

As a defense, or maybe offense, I cleaned the paintings that were dry to the touch. I used odorless mineral spirits and one of those lintless towels from Lowes. The blue ones, the name brand escapes me, the ones you see used in car garages. Surprisingly, the fuzzies and hairs came off, easily.

The surface cleaned up so nicely I decided to go ahead and lay down a glaze of ivory black to even out the backgrounds on those pieces. Which lead to making other touch ups on those pieces. Can you envision the downward spiral? Or is it? Maybe it’s a good thing to make touch ups.

Here is the result:

I apologize mess but I wanted to show the glaze. The apple painting was dry to the touch. The orange was only painted a week ago so the paint was still tacky, but I am glad I made the touch ups. After looking at the piece all week I wasn’t satisfied with the shape of the unpeeled orange. Then I added a little detail into the naval portion. The espresso cup was absolutely syrupy. I must have really soaked this one in stand oil because it was painted nearly a month ago. Yikes.

Thank you so much for reading about my painting process and practice. Drop me a line sometime.

My best,
Emily Warren

Published by Art Belongs to Everyone

Remember Reflect Reform In this work, I have been exploring phenomena of memory augmentation. I experimented with reflections and cinematic images by juxtaposing photographs, paint, wood, and mylar. The direction of the work includes painting intimate, reflective, observations of augmented memories.  I began by building a cabinet of curiosities as a way to form a tableau painting and experiment with different media. Inspired by the relief paintings by artist Sally Han, I built a model of a Victorian cabinet using tenets of Darwin's theory of evolution. I painted on a variety of surfaces including wood, photographs, and adding raw lumber to the pieces. In this process, I disassembled the cabinet to give autonomy to each piece. Although I diverted from the original idea of a final installation, there was an impulse to paint larger. Adding mylar was yet another way to accentuate reflection as a part of the critical dialogue with the work. The final result offers an opportunity to remember, reflect, and reform.

One thought on “Cleaning and retouching

  1. I’ve had a lot of trouble with dust on dark paintings too. It can help prevent dust if you lean the paintings forward to dry so all the dust settles on the back. Or you can lean something over (without touching) the drying painting to catch the dust and hair. Good luck!


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