Dear Friends,

Since I perceive that all life belongs to a larger whole, a deep unity, I also perceive that the Earth is a living being, and that our inner world is filled with living beings: It becomes natural to think about the environmental aspects of painting as well. This also includes a respect for the micro world. The mineral world is the least sensitive to outer influences, and as an example, I try to use composite materials for the frames, when feasible. We need to be very careful with Life, and try to treat it as gently as possible, within the framework of our time and space. One of my deepest feelings is that life is sacred. This means that I consider the aspects of environmental care, yet accept the fact that certain things are not yet as perfect as the will be. We have to live in the world as it is offered to us as well. My idea is that openness is the best remedy for many things, and therefore I wish to practise that when it comes to the materials involved.

Brushes:

If we begin with the brushes, I almost solely use synthetic fibre brushes, in order not to contribute to the slaughter of animals.

Colours:

When it comes to the colours, they are all waterbased, health labeled, and in many cases fully non toxic. Information can be obtained about each individual painting in this respect. I have preferred to use dry pastels, and not the oil pastels, since I have not been able to obtain secure information if there is animal fat or not in the oil pastels; traditionally they come with animal fat.

Left over materials:

I try, as far as possible, to treat left over material accordingly, that is to bring it to an environmental station locally, for destruction, or re-cycling.

Papers:

Some of the papers used contain gelatine, and that is rather difficult to avoid at times, since it is used to make the paper stronger. If you have suggestions here, I am very open to them.

Fixatives:

The fixatives for the dry pastels are of a low odour type; they still smell rather strongly, and there must be better alternatives; I have not yet found any.

Varnishes:

Here I have used both waterbased varnishes, and more volatile ones. Information can be obtained about every single painting.

Boards:

In the case of boards, when used for some of the larger paintings, I am looking for environmentally labeled materials.

Frames:

In the cases of frames, I more and more often use composite frames, rather than wooden ones, since the mineral world suffer less from our use of it.

Any suggestions are welcome.

Greetings

Stefan