Here are my best attempts to answer some questions that often get asked about my artwork:
-What in the holy heck is it?
Excellent question. I like you. You don’t mince words. I tend to call them paintings, though they usually fall awkwardly into a fuzzy grey area hovering somewhere between sculpture and painting. I fabricate a ‘canvas’ out of metal (usually steel, stainless, or aluminum); this is flat metal plate formed into a shape akin to a box lid so that it can just hang on the wall and pretend to be a normal painting. I then use a variety of media to ‘paint’ the metal; paint, patina, dye, wax, and oh yes, even sometimes glitter. Don’t hate on the glitter. Additionally, I will almost always attack said paintings with different tools to grind patterns and texture into the metal. It adds a little three-dimensional pop. I’m all about pop.
-What is your favorite color?
-Neon yellow. But ask me again next week.
-You overuse the word ‘patinated’. Stop it. But also, what does it mean?
It is the past tense of the verb ‘patinate’, which is the action of applying a patina. BOOM! Learning.
-Will the patina change with time?
Possibly. That is the nature of patinated metal, and, in my opinion, part of its charm. I seal the heck out of these things to ensure they’ll last, but I can’t control the environment once they leave my studio. Moisture is their worst enemy. The best bet is to hang them indoors away from any consistent moisture sources.
-Can I hang it in my shower?
No. Just no.
-Are they heavy?
The big ones are. They’re metal.
-How do I hang them?
The smaller paintings can be hung just like any other painting. One or two screws (ideally into a stud in the wall), will hold them just fine (the lip of the painting just sits on top of the screws–sometimes I stick a little wad of earthquake putty on top of the screw to help the painting stick). Another, more secure option, is to cut a piece of 1 inch thick wood (it could be 1×4″, 1×8″–anything so long as it is the same depth, more or less as the painting edge–which is usually about 1 inch) so that it is just smaller than the interior width of the painting. Screw the wood to the wall–hopefully, into a stud–and then fit the painting over that so that the painting’s top edge is resting fully along the top of the wood. Again, sticking some earthquake putty along that edge helps secure it.
The large paintings (4’x4′ and up), definitely require a little more engineering to hang safely. First of all: buddy system. Don’t try to do this alone (Reed Hecht, I am talking to you). They heavy. The large paintings will come with a piece of support wood (along the lines of what I described above). They will also come with a series of pre-drilled, inconspicuous holes along the top edge of the painting, and a coordinating number of screws. The support wood piece needs to be attached securely to wall studs, and then the painting needs to be mounted to rest securely along the support wood. Then, through the pre-drilled holes, the painting needs to be secured to the support wood. This is your best bet at not having that thing come crashing down on someone.
-Are they sharp?
The edges of the metal aren’t what I would call sharp, but they aren’t what I would call comfortable to handle, either. Your best bet is to wear gloves when you are handling the edges of the painting. Especially the heavy ones.
-Do you accept commissions?
I’ll consider it. Generally, I prefer to just do art and if someone likes what I does, they can buys it.