Why She Chooses Matte Varnish (and Sleeps Perfectly Well Because of It)
At some point, every painter is expected to develop strong opinions about varnish.
Gloss, in particular, inspires loyalty. It offers saturation, depth, and a theatrical sheen—the kind of finish that announces its importance before anything else has a chance to speak.
She’s experimented with it. The attraction is clear.
Yet her hand consistently reaches for matte.
Shine Alters the Dialogue
Glossy surfaces tend to dominate a space. They catch light aggressively, scatter reflections, and invite viewers to notice themselves hovering over the work. The finish often arrives before the painting does.
Matte varnish behaves differently. It recedes.
Color remains central. Texture stays legible. The image doesn’t shift with the angle of a window or the time of day. What’s visible is the painting itself, not a collaboration with lighting conditions.
For abstract work, that distinction is essential.
Surface Is Earned, Not Decorative
Her process depends on accumulation and disruption. Layers are built, scraped back, concealed, then reintroduced. Some passages are controlled; others veer into chaos.
Matte varnish honors those decisions.
Gloss can compress variation, glossing over nuance and merging distinct passages into a single reflective plane. Matte preserves contrast. Subtle areas remain understated. Rough sections keep their edge.
The goal isn’t dazzle—it’s presence.
Atmosphere Comes First
High-shine finishes impose intensity whether it’s warranted or not. In some cases, that theatricality overwhelms the work’s internal rhythm.
Matte maintains emotional consistency. It supports rather than competes. Colors remain grounded. Gestures retain their integrity. Nothing feels styled for effect.
The intention isn’t to impress the light source; it’s to sustain an exchange—an idea closely tied to how perception shapes meaning in When an Abstract Painting Starts Talking Back.
A Practical Aside: Glare Wears Thin
Paintings travel. Lighting changes. Homes and galleries are full of variables—windows, lamps, and well-meaning rearrangements.
Matte surfaces are forgiving. No chasing reflections. No ideal viewing angle. No instructions required to experience the work fully.
The piece presents itself the same way, wherever it lands. That steadiness matters.
Not a Doctrine—A Choice
This isn’t a rejection of gloss, just a preference rooted in attentiveness.
Given how she works, how surfaces are built, and how she wants them to communicate, matte feels like the appropriate conclusion. It doesn’t editorialize or redirect attention.
It simply signals completion.
That relationship between process, perception, and outcome is part of a broader idea explored in The Value of Her Work.
And for her, that quiet certainty is enough.
Available Work:
