I begin my process by purchasing a large piece of 18 gauge stainless steel at my local metal supply shop. I then cut down to my desired size. Once I have my sheet of metal, I have a metal frame attached to it on the back. The frame prevents the stainless steel from bending—it also serves as a hanger for the piece once it is completed. This way my pieces do not require an actual frame once completed and they sit off the wall as if floating in space.
Stainless steel is a non-ferrous metal. This means that it does not rust like regular steel, or tarnish over time like aluminum. This is important because I want my paintings to last for years and be painted on the highest quality metal surface available. The other advantage is that I do not have to worry about it being damaged like traditional canvas or wood panel. Stainless is virtually indestructible.
Painting on stainless steel is very different than substrates like canvas or wood. The paint easily slides on the metal’s surface, opening the door to techniques and effects not possible with those more traditional surfaces. Since the metal is reflective, it allows for the painting to be much more vibrant. The metal is an integral element of the painting, and I leave a good amount of it exposed so that it and the paint interplay with each other, creating the effect of movement.
I start off by polishing the metal with a grinder and a metal sanding disk. This gives me the patterns in the metal that I desire for that particular painting. For example: I can create an organic gesture or the appearance of water or the sky, imbuing the subject with an ethereal quality. This technique also creates a rough surface that allows for a strong bond between the oil paint and the metal.
Once I have the desired effect from the grinding, I then sketch out my design and begin to paint. I use a medium with my oil paints that allows it to better bond and dry on the metal: It is almost impossible to scrap the oil off the metal once it completely dries.
When light strikes the metal, it bounces off and creates an illusion of movement on the surface of the painting. This movement changes with the light conditions, or simply by the observer moving around the painting. You can even see movement under the glazed areas of the canvas. Once the painting is complete and given the adequate amount of time to dry, I seal it with Damar Varnish. This gives the painting an even sheen, saturates the colors and protects the painting from dirt and dust for its lifetime.
