Over the course of 18 years, I have developed very specific tools and materials for my painting practice. Ground pigments come mostly from Kremer Pigmente in Germany and some from a Parisian friend who supplies makeup companies with high end pearlescents. Kremer and I have worked together to create a water-based painting medium which dries exceptionally clear and hard, made of polyurethanes and acrylic.
As for tools, I have fabricated several blades/knifes/spatulas based on a master plasterer's tool, in varying widths. In addition, I have recently incorporated something akin to a tile setter's hard-backed sponge, also in varying sizes.
After years of mastering something like a very deep color field, I am now very interested in an active surface, in addition. This last step depends much more on what happens "in the moment" rather than preparatory studies or ideas, and therefore many works are deemed failures at this stage and destroyed. I feel very confident, however, that this combination of masterful background/body, with "of the moment" risk, speaks both confidently and lyrically when successful. The lower percentage of work which leaves the studio is worth the risk.