I use 45mm (1.77 inches) deep aluminium stretcher bars from MUSEO for all my paintings. Aluminium stretcher bars are museum-grade, giving much better stability and durability than traditional wooden bars.

I no longer use wooden stretcher bars — aluminium is a superior, professional choice for long-lasting artworks.

Linen is the best painting surface — I use it exclusively, always choosing it over cotton.

Made from the durable flax plant, linen is robust and long-lasting.

It resists stretching far better than cotton, helping the painting retain its original form for years to come.

I use Golden gesso — a brand trusted for its high quality and reliability.

Gesso is essential for preparing the painting surface, ensuring proper paint adhesion.

It helps the paint stick better and prevents the layers from peeling or flaking over time.

I use a variety of high-quality acrylic paint brands, rather than limiting myself to a single one.

Acrylics are the best choice for my painting style — especially when working with thick layers in my impasto pieces.

It’s important for me to feel the paint as I work, and for that purpose, acrylic paint is perfect.

If I need to thin my paint, I use matte medium from Liquitex and Lascaux.

These mediums allow me to maintain the integrity of the paint while adjusting its consistency, without compromising the finish or durability.

I prefer a soft, non-reflective, smooth finish.

Matt varnish dries to a flat, non-shiny surface, unlike glossy or satin varnishes, which create a shiny finish.

I use matt varnish from Liquitex and Lascaux.