Jaq Chartier's paintings involve the use of materials that may gradually change as they continue to interact and respond to each other, to light condition, and to the passage of time. These changes are part of her "Testing" exploration and process.
of the materials are not typical, and the paintings require a little extra care:
Light: strong light sources can affect the paintings, causing certain stains to shift in color over time. Though the idea of change is integral to the work and should be expected as part of the "Testing" process, it's best to protect the work from constant direct sunlight unless the piece is part of an ongoing "Sun Test" exposure study.
Yellowing of the surface: most paintings will usually have a mild "vanilla" or "white chocolate" background tone, with some variation depending on the thickness of the resin. This tone may intensify a little over time, but the resin is stable and it won't crack or otherwise deteriorate. If a piece becomes too yellow it can usually be lightened with brief exposure to direct sunlight for a week or two, (longer during winter months).
Shipping & Storage: the surface of these paintings is an acrylic resin which remains slightly pliable, and pressure is not good for this work. Though the paintings include a top coat of removable varnish, which offers protection from scuffs and dirt, it is still possible to permanently damage the work with undesirable "textures" if proper care isn’t taken during wrapping and storage.
Jaq usually makes "facing boards" for the paintings or floats them inside a wooden crate to protect the surface during shipping. If possible, save these materials for use during storage and before wrapping the piece in other materials for transport. If you no longer have the facing board, you can use a clean, smooth piece of foam core or other smooth board cut slightly larger than the painting, (use acid free board for long term storage). Avoid creased or damaged board, corrugated cardboard, mat board with a textured surface, tape edges, or anything else with any texture. Glassine is okay for an inner wrapping as long as the piece will not be exposed to heat, (glassine contains wax which can stick to the surface if it gets warm). Once the facing board is in place, wrap in bubble wrap or other packing material. Avoid pulling the wrapping too tight, which can put pressure on the edges and cause the facing board to stick in those places. Also avoid placing paintings in any situation which involves strong pressure to the surface even after they are properly wrapped.
To clean the surface: the best way to clean a dusty surface is to start with compressed air. Then gently dust with a lint-free soft cloth. Water (or mild soap & water) can be used to remove some types of marks. For scuff marks on the sides of the work you can also try a bit of rubbing alcohol diluted with water - but avoid alcohol or any other type of solvent on the surface. Avoid buffing the surface with excessive rubbing, as this will change the sheen of the varnish in that spot. Should damage occur to the surface, it's usually possible to completely repair the piece by stripping off the varnish and re-varnishing the painting – contact Jaq for details.
Other questions? Just get in touch....