Materials Matter: Why I Only Work with Archival Supplies

When someone purchases one of my paintings, they are making an investment — not just financial, but emotional. They are trusting that this object will outlast them, that it will be something they can pass on to their children, or their children's children. That trust is not something I take lightly. It shapes every decision I make in the studio, starting with materials.

The Case for Archival Quality

The art world is full of beautiful objects that will not survive the century. Student-grade paints, acidic papers, unstable pigments, cheap canvases — these materials are seductive because they are affordable and convenient, but they are not made to last. Colours shift and fade. Supports crack and yellow. Surfaces become brittle.

I made the decision early in my career to work exclusively with archival-quality materials, and it is a decision I have never regretted, despite the cost. The difference in quality is immediately apparent — the colours are richer, the surfaces more responsive, the overall handling more pleasurable. But the more important difference is invisible: the knowledge that the work will endure.

Every material choice is a statement about how long you expect your work to last. I expect mine to last centuries.

My Material Choices

Oil Paints: I use exclusively artist-grade oils from a small number of trusted manufacturers — Williamsburg, Old Holland, and Michael Harding. These paints are made with the highest-quality pigments and oils, ground to exacting standards. They are significantly more expensive than student-grade alternatives, but the difference in colour saturation, handling, and longevity is substantial.

Canvas and Linen: I work on Belgian linen, which I prime myself with rabbit-skin glue and lead white. Linen is more stable than cotton canvas — it expands and contracts less with changes in humidity and temperature, which reduces the risk of cracking over time. The priming process is time-consuming, but it gives me complete control over the surface quality.

Gold Leaf: As I have written elsewhere, I use only genuine 24-karat gold leaf. Imitation gold (made from copper and zinc alloys) will tarnish over time. Genuine gold is chemically stable and will remain unchanged indefinitely.

Varnish: I use a removable, UV-resistant varnish on all finished works. This protects the surface from dust, pollutants, and light damage, and — crucially — it can be removed by a conservator in the future without damaging the paint layer beneath. This is standard conservation practice, and it is something I insist on for all my work.

A Note on Sustainability

The question of sustainability in art materials is complex and evolving. Some traditional materials — lead white, cadmium pigments — are highly toxic and require careful handling and disposal. I use these materials because of their irreplaceable qualities, but I do so with full awareness of their environmental impact, following all relevant safety guidelines and disposal protocols.

I am also increasingly interested in natural and earth pigments as alternatives to synthetic colours. Many of these pigments have been used for thousands of years and have proven archival stability. They also have a warmth and depth that I find compelling — a quality of light that feels connected to the earth in a way that synthetic pigments sometimes do not.

The studio is always evolving. The commitment to quality and longevity is not.