Actually, there are no mysteries in my studio. There are no special brushes, no perfect paints, no easel at just the right height. It’s not even a huge space. But I am grateful to have a dedicated space in what was once an attic. Still, I work any place I can— table, bench, or floor. And my back testifies to that.
On the Table
Most of my paintings start on the same Home Depot table you probably use at Thanksgiving. You know the fold-up, fold-out variety with the handy carrying strap. My own tables have been used at Christmas—minus the paintings of course. I have added wheels to a couple of them so they can move around easily. An easel that would hold 3-inch deep wood panels would be great, but I haven’t figured that one out yet (How do we accommodate the sides?). In the past couple of years I have been working a bit more on paper, building up texture with paraphernalia and gesso. Because I am often pressing in found objects to create texture, I still need a firm, hard surface.
Beneath My Feet
My artwork is constantly moving— from table to either wall or floor for drying, viewing, and gaining perspective. So while I can hang a cradle to stare at it, I usually use the floor for my work on paper.
If I leave a piece overnight, I must be careful: to be certain to first turn the light on the next morning to avoid stepping on artwork, but most importantly, to pick up all extraneous art materials to avoid enticing the cat (She is easily motivated.).
She will play with and has played with every thing I leave on the floor from paint brushes and charcoal pencils to tubes of paint and bits of fabric. And of course, her personal favorite is string. It has not escaped my notice that a few of my pieces may have cat DNA attached.