Materials and Process

Painted on fine Flemish linen mounted to panel and prepared with twelve layers of traditional gesso, these works are built through a layered process in egg tempera and oil. Carefully selected pigments are used for their optical depth, stability and luminosity.

Informed by Edwin’s background in molecular chemistry and his sustained study of Old Master technique, each painting is developed with close attention to material compatibility, surface quality and permanence.

For a more detailed description of the process, please scroll down.

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A technique rooted in Old Master practice and chemistry

Before devoting himself fully to painting, Edwin worked as an inventor in molecular chemistry. That analytical way of thinking remains integral to his studio practice. Each stage of the process is approached with close attention to the relationship between materials, so that the finished work achieves both visual refinement and long-term stability.

Support and gesso

Each painting begins with a wooden panel, carefully sealed on both sides with animal glue. Fine portrait linen from Flipts & Dobbels in Roeselare is then mounted onto the panel. West Flemish linen is widely valued for its strength, fineness and resilience, providing a stable yet responsive support.

Onto this surface Edwin applies twelve layers of traditional gesso, made with animal glue and a carefully balanced mixture of two types of chalk. Each layer is sanded, and the final surface is polished to a smooth, luminous ground that remains highly absorbent and suitable for subsequent layers.

Imprimatura and underpainting

He then establishes a broken imprimatura in egg tempera, followed by the drawing, usually in conté. A tonal underpainting in egg tempera sets out the structure of light, shadow and volume. After a controlled treatment to moderate the absorbency of the ground, he continues in oil, developing a monochrome underpainting that determines the compositional balance of the final image.

Only once this structure is fully resolved does he begin to model flesh tones and colour through multiple thin layers of oil, allowing light to move through the paint film rather than remain on the surface.

Pigments and permanence

In earlier years Edwin worked with historic pigments such as lead white, genuine Naples yellow and vermilion. Drawing on his background in chemistry, he later developed safer contemporary pigment combinations that emulate the optical character of these traditional colours while avoiding their toxicity and certain long-term material risks.

The result is a painting surface with depth, clarity and luminosity: one that acknowledges the material intelligence of Old Master painting while meeting contemporary expectations of safety, durability and technical care.