These instructions are for one-sided clay art sculpturally exposed to elements and dust and heat. Much of my work in 1982-3 – and some recently created clay paintings are simply open clay exposed.
STORAGE
Do not store or display in a dusty area. Dust and Van Aken clay do not mix.
When storing, wrap painting in a light plastic drop cloth, and tape up the back so no air gets in. When presenting, have good AC or air filtration in the room if possible. If not possible, limit the amount of exposure to ‘daytime viewing only’ by covering with a quick cardboard shape or CLEAN from the dryer sheet – over top when lights are off.
Store art flat on its back, with clay facing up. Cover it with cardboard or plastic sheet that does not touch the artwork, and is sealed from outside dust.
Bas Relief, or THICK sculptural paintings (such as for Freaked) – should not be dropped or jolted or given a sudden physical shock. The frame will hold it from damage, but excessive shock may cause some clay to dislocate. Heat also affects deep bas relief more strongly than flat artwork, so temperature based ‘drooping’ May occur more easily with these heavy deep clay pieces.
CLEANING
Do not press against the clay with anything. Paper or fabric gently touching the exposed clay may develop oil stains on the paper or fabric. This also drains the clay of elasticity, and in time, makes it more tougher to the touch, but also brittle.
Some of these clay paintings have matte medium or gel medium applied. This can be simply wiped and cleaned with a damp cloth. Mediums create a kind of waxy sheen, causing some reflection from the clay, and gives the final look a different ‘feel’ than open “nude” Van Aken.
Gel medium can be pulled up or extracted, to reveal clay surface. But this must be done carefully not to pull up any bumpy clay that is wrapped in dried gel, and gets pulled up along with the protection coat.
Fully exposed clay can be cleaned slowly with tee shirt cloth and mineral oil. This picks up the dust on surface and leaves clay a bit cleaner than before.
It can be cleaned quickly with Orange oil. This is so effective at cleaning the surface of dirt, it will also wipe dark pigments into lighter areas, so beware. One must stroke once, and lift the cloth up, starting in a fresh area for the next stroke. Keep colors from stroking into other lighter areas.
REPAIRS
In extreme repair – one can use a knife to slice thinnest slivers off the art, to reveal the pristine clay underneath. This can only be done when there is enough thickness to allow another millimeter to be removed. Scraping is generally bad, but can help in very tiny areas or corners or tight overlaps, if done with restraint.
Tamping the clay back down gently with fingers is okay. This is art, not science.
This is an essential PRIMER for CARE of STRATA CUT ART created by David Daniels. I have been reluctant to write this for months, but it is essential as over a dozen pieces have been sold, and more to come.