excerpt
He had more canvases made that together measured twenty-five feet,
eight inches long by two feet high. By anyone’s standard, this was an immense
painting: by Ken’s yardstick, it was a miniature. However, the size
was ideal, as it allowed him to sketch in every detail and nuance he wanted
to convey.
He worked eighteen hours a day, but time had ceased to have meaning.
He physically barricaded the studio to discourage visitors. Several weeks
later, when the large model was complete, he started to calculate what it
would take to paint a portrait that was twelve feet high one hundred fiftytwo
feet long. He estimated that he would need thirty-eight panels twelve
feet high by four feet long, butted seamlessly together.
He had immense issues to deal with. First, he had to find a supplier
who could stretch canvases of that size. He also had to keep Rocco supplied
with paintings, and he had to complete them on time. And, he had
to finish the Reichmann and Yellowknife Airport paintings. In addition,
he was once again doing presentations at schools. Common sense told
him to say no to those requests, yet he felt an obligation to talk to the
children – to fire their minds with dreams. Although he should have been
tired, he was bursting with energy. It was as though the furnace of his
heart was being stoked with a fuel that burned endlessly – a fuel more
potent than food, drink or rest.
He could find no one who would stretch the canvases. Those he approached
thought he was mad. He talked to the company that supplied
their framing material, explaining that he needed stretchers double kiln
dried so they wouldn’t warp. They also had to be bevelled so that when
the panels came together the seams would disappear.
Ken wanted all the materials he used to be made in Canada. It wasn’t
possible. No one in Canada made canvas, so he ordered several rolls from
Brazil, each roll weighing hundreds of pounds. He also had to import
brushes.
With leftover canvas from the Reichmann painting, he and Diane
stretched the first panel using the device he had invented that was a combination
of canvas stretching pliers, Vise-Grips, and a torque wrench. Every
part of the canvas had to be stretched to precisely the same tension.
The canvas was perfect when he could lay it on the floor, toss a coin
on it ,and have it bounce off like a bullet. If it wasn’t right he started over
again – and he began afresh many times.
Keeping in mind his insight about quantifying the painting, he made a
precise list of every item he needed. How much glue would he need? How
much gesso for four coats on each of thirty-eight panels? How much paint?
Ken met with Mr. Stevenson, of Stevenson and Company paint manufacturers,
“I think I’m going to need two tons of paint,” Ken said.
Manolis Aligizakis 