I believe that creativity, artistry and craftsmanship work together to create a great painting.
And so I believe in building my paintings on a sound surface, whether it’s a nicely stretched canvas or archivally produced panel. Double primed linen is my surface of choice, usually stretched on wood stretchers and secured with copper tacks (I’m not a fan of staples on larger canvases). While I always prefer to stretch my own canvases, the panels I use for much of my painting en plein air are bought from suppliers. The panels are still made with double-primed linen, but instead of being stretched, the linen is then secured with archival glue to a backing of either birch or masonite or foam board (very lightweight for travel). For me, the important thing is to have a high-quality surface that gives me the texture and feel I want while preserving the painting on an enduring and well-crafted canvas.