I work on white clayboard; which is a board that has a thick coating of Kaolin clay , often making my own clay pigments. It is a relatively new art process though it's roots lie in some of mankind’s earliest attempts at creating art. The Cro-Magnons scratched pictures into rock or bone to tell their stories. As a visual storyteller my goal is to connect in this context by carving into this natural medium of clay that has been formed at the bottom of lakes.
I work on two types of scratchboard. The works on paper are manufactured in England with a cardboard base. The clay boards, invented by Charles Ewing are coated on archival masonite and manufactured by Ampersand. Both types of board provide me a surface in which I can build upon with inks and additional clay prior to scratching them away with razor sharp tools. Recently, I have also been experimenting with the kaolin on papyrus and handmade papers.
The process of scraping the inks off of the clay is my favorite experience in creating the piece. It is a performance that celebrates the articulation of lines. The movement of my wrist and arm are rhythmic in nature not unlike a performance of a jazz musician or a dancers fluid movement.
The first step in my process is making a preliminary drawing in chalk or graphite. I usually transfer this to my board with graphite paper under the sketch retracing the preliminary drawing with a pen. This creates an indentation in the board and graphite image to serve as a guide. Next I paint with permanent colored inks prior to scratching. My preferred tool for scraping is triangular in shape with a fine razor edge and various razors. Recently, my works are much larger in scale (30”x60”) and I have been getting beautifully crafted custom boards made by Ampersand with a birch trim cradle and back supports for stability. Upon completion of the piece I apply a coat of acrylic protective spray using the recommendation of a museum trained art restorer.
More about Clayboard: With the exception of my works on paper, all of my paintings are done on Ampersand’s Museum Panels. Both the coating and the bonding materials of Claybord Smooth are inert substances with exceptional lightfastness and physical permanence. The mineral-coated surface is pH neutral and acid-free. Ampersand’s patented Archival-seal technology means that the panels are: acid-free, eliminate support-induced discoloration, and are tested to last 200 years. These patented coatings are designed so that paint colors remain true and brilliant. Also, they are made with premium hardboard for a warp-resistant panel and all pieces over 40 inches in both directions have bracings ever 2 feet for extra support. Clayboard is endorsed by conservators.
