Dibond’s use as a direct painting substrate continues to grow in popularity amongst artists. Christine Mercer-Vernon is a narrative artist who paints out of a small dedicated space in her home. In an interview with 3A Composites Graphic Display USA she describes herself as a narrative artist, “Every natural object has a story, from where it begins to where it ends. Life and Death. I see poetry in the stark contrast between the two.”

Mercer-Vernon began utilizing Dibond aluminum composite material as a painting substrate only last year. Noting that its “smooth surfaces, with a minute amount of speckled texture” influenced her decision. For her smaller pieces she used Masonite panels but further explains, “As I began to work larger warping and edge chipping became too much of an issue. An artist friend suggested I try aluminum composite panels. I ordered in three 4×8 foot sheets and was hooked.”

Mercer-Vernon explains her decision to switch from traditional artistic substrate to ACM was based on cost, stability, durability and size. Noting her only challenge has been the inability to carry the 4×8 foot sheets herself due to her petite stature.

Her paintings are beautiful, dark in their context but yet light in execution. As she explains art in general has different interpretations, “…people either deeply connect with my work or they don’t. There is no gray area. What always strikes me, is how each person finds their own story, strengths, and inspirations in my paintings…the recurring message is how my work reminds minds them of a triumph or strength they gained from an experience.”

ARTIST RESOURCE:

For oil on Dibond aluminum composite panel, each artist has their own process for prep, paint and coat the product.

Below are Christine Mercer-Vernon’s how to notations:

“Wearing non-latex gloves, I lightly scuff the surface with a 220 grit sanding block. I wipe thoroughly with rubbing alcohol to remove any oils, deposits, etc. Then I use a foam roller to apply thin layers of white acrylic gesso. I sand between each application with a 320 grit-sanding block, thoroughly cleaning off the durst before applying the next layer. I usually apply three-four coats of gesso.”

“After the gesso has thoroughly dried, I tone my panel with thinned down oil paint that is a mixture of Translucent Red (or Orange) Oxide and a tiny bit of Ultramarine Blue.”

all information and photography courtesy of © Christine Mercer-Vernon