Suburban Scars
Craig Clements, 2000

Acrylic on canvas

I have switched from oil to acrylic paints to cut down on toxic fumes and waste. Although most acrylic paints require no health labels, water used to clean brushes may contain poisonous pigments.
Care must be taken when disposing of these materials.

Aravaipa Canyon (Fire)
Jessi Atwood, 2000

Silver gelatin print

Photographic chemicals are inherently toxic, because of this I have always been very cautious in darkrooms. My current darkroom is equipped with an automatic ventilation system which runs when the safelights are on. When developing I use tongs in order to avoid contact with the chemicals.

The Egg Hunt (detail)
(Dedicated to Michael Tanzer)
Matt Cotton, 2000

Aniline dye, acrylic, oil, enamel

When I was still in graduate school, I purchased one thousand dollars worth of aniline dyes for two hundred bucks at the local theatre supply store. These incredibly rich colors have been prohibited in most theaters due to their instability and toxic nature. I used them in a water based solution until I found that the powdery pigment was comiing off the canvas quite easily. I statred to become worried about the beautifully colored dust on my studio floor. I shelved the dyes in boxes with TOXIC stickers on them. Years later, I had no money for oil paint, so I started to transfer the dyes into linseed oil glazes. In this form, the aniline dyes are safely contained in an oily solution. Now, I am happy and healthy, and have enough color to last me the rest of my life.
Matt Cotton is a painter, puppeteer and teacher. He is a member of Tucson Puppet Works, a cooperative studio, workshop and gallery in Downtown Tucson.

Dry
Gwyneth Scally, 2000

Oil paint

I have an abiding love of the techniques and effects possible through oil paints, and cannot give them up in favor of less toxic alternatives. However, I have been careful to take all possible precautions to minimize any ill effects: I primarily use soap to clean my brushes, and when a stronger solvent is necessary, I use turpenoid as a safer alternative to turpentine. My preferred medium for thinning paint is linseed oil, which is quite safe by comparison to Darmar varnish, and should Darmar be necessary, I allow the work to dry outside. All of my oily rags are kept in a special fire proof container to avoid the possibility of fire. I make sure to use goggles and a dust mask when I use my circular saw or other power tools (necessary to cut wood and frame out paintings). I have definitely had experiences of lightheadedness after exposure to certain chemicals, and I have become congested after exposure to sawdust, so I try to protect myself around these substances.

Ebb and Flow
Gavin Troy, 2000

Watercolor, acrylic, gesso, crayon, oilstick on wood

I enjoy painting of found wood and canvas. Most of the colors I use are water-based, acrylic, gesso, pencil, crayon and oilsticks. For the work I am always interested in the most basic, least toxic materials available and I am interested in learning more about non-toxic pigments. I work to keep my studio clean and safe using a face mask when working with raw pigments. The EJP2 program has increased
my awareness in organization and storage of materials.

Beneath
Marc Moss, 2000

Acrylic on canvas

I prefer to use acrylics because you don't use solvents. When I use oil based inks in printmaking I use turpenoid instead of paint thinner because it has less toxic fumes. I use rubber gloves when handling oil based inks. In hotter weather I open the doors to get cross ventilation. I am always on the lookout for products that are safer for myself and the environment.

The Haircut
Tracy Featherstone, 2000

Acrylic on lycra

I have switched from oil to acrylic paints to cut down on toxic fumes and waste. All left over water goes into a barrel to be disposed, not down the sink. In printmaking, I use baby oil instead of mineral spirits to clean up the left over ink.

Initiation
Ed Davenport, 2000

Limestone

Safety is a very immediate consideration in my stone carving studio, since we sculpt with very high speed grinders and saws. We always wear protection for eyes, ears, lungs and hands. Some stone is very toxic and knowledge of this is important. Our studio has been open for 4 years with no accidents.

Foothills
Sara Kucerova, 2000

Oil on paper with steel frame

In creating these works, I used a variety of safety equipment, including protective eyewear, earplugs and a respirator. Protecting myself from the long term hazards of metalwork is a priority in my studio. To minimize the use of solvents used in oil painting, I use household cooking oil to clean the paint off my brushes before washing them with soap and water. Ventilation is important in my studio.

Untitled #2
K.A. Fisher, 2000

Monoprint, mixed media

When I paint with oils now, I use solvent free mediums and vegetable oil. I still wear latex gloves. It's probably less harmful to do without. There is no ceiling in my studio to hold odors in. I do use fans to keep air moving.
My health has been seriously compromised by long term unsafe studio practices. Any improvement to the health of my studio situation is a plus for myself as well.

Seeker - Boy
Pasqualina Azzarello, 2000

AP certified non-toxic oil paint on found burlap and wood

It seems that the more I paint, the more and more serious I became about health and safety in regards to art-making. I have time and time again reconsidered and restructured my habits, as they pertain to solvents, ventilation, protective equipment, as well as the types of paint I choose to use. Perhaps more than any of these specific safety considerations, however, I have taken a great comfort in working with found objects. Working with materials which would otherwise get thrown away, my studio has become a recycling center of sorts. It is ultimately liberating to expand one's understanding of how environmentally responsible art-making can be.

Sonoran Love Beads
John Sartin, 2000

Combination of ironwood, plantation ebony, and alternative ivory beads turned on a lathe and strung with other trade beads of a similar texture. All wood beads
are finished with a nontoxic combination of bee's wax and walnut oil.

In the rush to create or make,one can easily forget to be mindful of the safety hazards of the profession. This project has helped me to remember to use common sense and protect myself as much as possible so I can do my work for a long, healthy time. As a woodworker I used many protective devices such as eye protection, hearing protection, respiratory filters and skin barriers to help guard against the many hazards in the shop environment. I also try to use materials that pose the least harm to the planet such as low toxicity finishes and recycled or reclaimed wood.

Seeker - Girl
Pasqualina Azzarello, 2000

AP certified non-toxic oil paint on found burlap on wood

The Saint
Cailin Gibbons, 2000

Acrylic, ink on paper

Migration
Pasqualina Azzarello, 2000

AP certified non-toxic oil paint on found burlap on wood

Heartbeat
Cailin Gibbons, 2000

Acrylic, ink on paper

Untitled #1
K.A. Fisher, 2000

Monoprint, mixed media

Suburban Scars (detail)
Craig Clements, 2000

Acrylic on canvas

Desert Hollow Form
John Sartin, 2000

Lathe turned mesquite and ironwood, finished with non toxic bee's wax and walnut oil. The wood for this piece was rescued from a firewood pile.

Scale models for "Front Row Center"
University of Arizona, Tucson, AZ
Barbara Grygutis, 1998

Bronze with patina

Monsoon from the "Skyscape Series"
Diana Stirling, 2000

Acrylic on canvas

I used to paint with oils. I wore latex gloves and worked in a well-ventilated area. My parents, painters themselves, urged my to try acrylics as they were worried about the health risks associated with oil painting. Reluctantly, I agreed to try them. Now that I understand more about the unique qualities of acrylic paints, I'm very happy to have made the switch.