With my 2020 exhibition and residency plans cancelled or indefinitely postponed, and my storage area overflowing with completed 4×6 foot canvases from my 2018-19 grant year with the Pollock-Krasner Foundation, I abandoned my plan of continuing to work large scale and decided to paint on small canvases. It was a hard decision to make because I was just starting to feel comfortable with my new larger-than-life substrates, but it was the right thing to do. My single most important goal as an artist is to Always Be Working, and this has allowed me to stay engaged and productive.
I stretch the canvas onto boards with tape and bulldog clips, carefully measuring the painting surface so it can be re-stretched on 16×20 inch bars later. When I complete a painting, I sign it, isolation coat it, remove it from the board, and store it in an archival box with a layer of glassine between each work.
stretched on board 
works in progress 
archival storage box
It’s very similar to my process of working on paper, and even to my early process of working in Moleskine books, not only because of the size and the documentarian aspect, but also because I’m using clear gesso, which leaves a lovely cream colored background from which I can brighten with white. I also decided to sign them like the works on paper, with only my initials on the front, because of their small size.
Here are a few completed canvases:
My plan is to do a series of at least 50 canvases by the end of 2020, then scan or professionally photograph them so they can be added to both my portfolio website and my online store. Depending on how the year progresses, I may do another series of them in 2021.
This is my favorite work of the series so far:
