Caring for Original Artwork at Home

Buying original art is one thing; living with it is another. Once a painting, print, or mural leaves the studio, the environment around it becomes part of the piece. I paint in acrylic and mixed media on canvas, paper, and walls, and each surface asks something slightly different of the room it enters. The good news is that caring for original artwork is mostly common sense made consistent. You do not need a climate-controlled vault. You need a few steady habits: control the light, manage moisture, hang it securely, and clean it gently.

The portfolio holds the full range of finished work, from small pattern pieces to full-wall murals. This guide covers what I tell collectors and hospitality clients once the work is in place.

Caring for Original Artwork Means Controlling Light First

Light is the fastest route to faded color. Acrylic paint is more stable than watercolor, but no pigment enjoys years of direct sun. A piece like Coral Sky, Blue Wall relies on that saturated pink sky against a pale blue wall; left in strong UV, the pink would mute and the contrast would flatten. Likewise, the flat coral field in Every Leaf Its Own Pattern would shift toward beige over time if it sat in a south-facing window.

Practical steps:

• Hang work out of direct sunlight. If you love a bright room, place the piece on a wall that only gets indirect light.
• Use UV-filter glass or acrylic in frames. It costs more than standard glazing, but it is cheaper than repainting a piece you love.
• Switch to LED bulbs for nearby fixtures. They run cooler and emit less UV than incandescents or halogens.
• Rotate pieces seasonally if you have a collection. It gives every work a rest and keeps the room feeling alive.

I document how color layers go down in the studio's process videos on YouTube; understanding the build helps explain why protecting the top layers matters.

Humidity, Temperature, and Surface Choice

Paper works react first to moisture. Drawn on the Shop's Own Paper is painted directly onto a printed cheese-shop wrapper, a thin, already-printed paper with the artwork layered on top. It is sealed and framed under glass, but it still belongs in a stable room, not above a stove or in a steamy bathroom. Humidity makes paper expand and contract; over time that movement can lift paint, wrinkle the sheet, or loosen the corners in the frame.

Canvas is more forgiving, though rapid swings in temperature can slacken or tighten the stretch. For the murals I paint directly on walls, like the work in the Aguada Airbnb Project or Clark Mural, the surface is sealed after the last coat. Interior murals hold up well in normal household conditions; exterior walls or shower surrounds need a different grade of sealant and should be discussed before painting starts.

Keep the temperature between 65 and 75 degrees Fahrenheit when you can, and try to keep relative humidity under 60 percent. If your home runs humid, a small dehumidifier in the room with the art is enough.

Where and How to Hang It

Hang work at eye level. The center of the piece should sit roughly 57 to 60 inches from the floor, which is standard gallery height. In rooms where you mostly sit, like dining rooms or living rooms, you can drop that to 54 inches so the middle of the piece meets your seated gaze.

Use two hooks for anything larger than 18 inches wide. The weight distribution matters, especially for framed pieces with glass. For heavier work, use wall anchors rated for the load, not just a nail hammered at an angle.

Bells Mirrored Into a Grid is a pattern piece that works beautifully in multiples or as a single focal point. Grid installations need a level line and consistent spacing; I usually mark the wall with painter's tape before anything touches it. A Face in the Canopy has a strong central face that commands a wall of its own. Give it breathing room; let the eye travel to it.

If you are bringing in a commission, placement is part of the design conversation. I make scale mockups so collectors can see how a piece will read against their furniture before the first stroke.

Cleaning, Framing, and Storage

Dust frames with a clean, dry microfiber cloth. Do not spray anything directly on the glass or the artwork. If you need to clean glazing, spray the cloth first, then wipe. For murals, a soft, damp cloth is usually enough for minor marks; anything more aggressive can disturb the finish.

When you frame paper works, ask for archival matting and acid-free backing. The mat should keep the artwork from touching the glass directly; trapped moisture against the surface can cause sticking. For canvases that are already gallery-wrapped, framing is optional. Leaving them unframed keeps the edges visible, but the corners are more exposed to bumps.

If you ever store a piece, keep it vertical, off the floor, and away from basements or attics. Wrap it in acid-free paper or a clean cotton sheet, not plastic, which can trap humidity.

More framing and shipping questions are covered in the FAQ.

Let the Work Live With You

Art ages, and that is not a bad thing. A painting will pick up a little history in your home. What you want to avoid is preventable damage: sun-bleached color, warped paper, a frame knocked off the wall because it only had one nail. Caring for original artwork comes down to respecting the materials it is made from. Acrylic on canvas is tough; painted paper is delicate; sealed murals are built for walls but not for steam or direct spray.

I paint pieces to be looked at, not locked away. Whether you bought a small print or commissioned a wall, the right placement and a few steady habits will keep the colors as alive as the day they left the studio.