Process and Growth

Less is more... that is my current mantra. Right now I have time to explore and develop encaustic technique and although painting representational landscapes has been my "happy place" with art for many years, I am shifting focus. My goal is to use minimal, essential lines and marks that make an impression and tell a story. This goal started nagging at me when I viewed Robert Motherwell's exhibit at the Cape Cod Art Institute this summer. Then I was sidetracked and fell into developing new techniques I learned this summer (building up layers of colored wax, then scraping and shaping down layers) which led to the Outback Series.

"Cave Dwellers" was created by layering and fusing wax with the addition of pigments and oil pastel.

"Cave Dwellers"

 

Primitive art continues to be a strong influence on me but mostly I just want to follow my heart and make essential marks that convey a story.

I have been following a private facebook group of encaustic artists. I rarely post in the group but have learned an incredible amount of information from everyone. I don't agree with some of what people are sharing but I have been exposed to such a diverse group of artists, it's almost like taking a class!

Below, 2 recent encaustic demo paintings, done at the same time with the same color palette using different techniques, neither of these pieces follows my "less is more" mantra, but I am working toward breaking a habit and it will take time.

Influences, good and bad

Please let the election arrive already and finally put an end to all of the political unrest, ridiculous commercials, and horrible economic news. It's definitely taken a toll on my creative juices. Facebook posts have me cringing and it feels like people have lost all respect to personal choices and privacy. It also feels like there are less bloggers posting less frequently (myself included). This election can't end soon enough.

Fortunately, I have another encaustic workshop planned for this Sunday. Last week I had fun demonstrating a texture technique by building up layers of wax in a more abstract way.

I also used a leaf to create imprints, added inlay details, then scraped away to smooth the surface. 

There were only 4 people in the workshop which allowed for everyone to get plenty of individualized help. It should be the same group this Sunday. 

The gallery and I are discussing the possibility of me teaching another workshop in January. Hopefully by then there will be less negative economic and political energy.

Local Press

"Great Dividing Range", 14 x 11 encaustic painting

Yesterday I was able to complete my demo painting from last Sunday's opening reception. I am looking forward to teaching the encaustic workshop this weekend and received wonderful press in the local papers.

One of the things I will miss most of all after I have relocated in Chicago next summer will be all of the publicity contacts and reporters I have met over the years. Last week I was interviewed and the online article was posted yesterday, the paper copy will be available tomorrow.

Online article -
All of her Beeswax 
Same article reformatted (without the advertisements)            

* Just received my paper copy and was pleasantly surprised that more of my work was pictured with the paper version of the article.

Shows and Demos

It's been a busy month so far, starting with the Paradise City Fine Arts show over Columbus Day weekend. This was my last Paradise City show because I will be moving to Chicago next year. 

The 3 day shows are exhausting and the day after coming home I had to begin setup for the next event... Yesterday was my solo show opening at Brush Strokes Gallery, a new local venue that has also invited me to teach encaustic workshops. 

The building once was a daycare center and Jon Corbino, the building owner, decided to convert the space into artist studios with a large, main gallery on the upper level.

Brush Strokes mission statement: "Our mission is to create meaningful connections between artists, collectors, curators and visitors. By establishing an environment that is open and unintimidating, we hope to enable reflection, to encourage passion and to provide a forum for the exploration of all media: painting, photography, sculpture, installation, video and more.  Our roster includes artists both emerging and established. What unifies them is our belief in their material and conceptual vision."

I have never had the opportunity to exhibit so many pieces of my work in such a large exhibit space and admit it was both exhilarating and challenging to make everything flow together. Both watercolor and encaustic paintings are on display, all of the work is inspired by the land and earth. 

I decided to hang awards I have received next to the corresponding pieces as visual endorsements of my work.

This show is my first introduction of the Outback Series, an abstract interpretation of Australian lands. The gallery offers wood display panels on wheels which allow for the room to change with the artist's needs. It was the perfect space to separate the representational landscapes from these new abstracts.

An hour into the reception, I demonstrated several encaustic techniques. I had prepared an 11 x 14 panel with many layers of wax that were then scraped, molded and reformed. I demonstrated inlay techniques, image transfers and oil pastel etched into wax medium. The interest and energy in the room was fantastic.

The first encaustic workshop starts this Sunday and hopefully I will have time to complete the demo piece started yesterday before the workshop, pictured below.

Embracing Encaustic

I received word this week that I will be one of the artists featured in the 3rd edition of "Embracing Encaustic: Learning to Paint with Beeswax" by Linda Womack due to be released before the end of 2012. I am thrilled to be included with this group of fine encaustic artists.

http://www.lindawomack.com/books/purchase.html

We were required to submit up to 4 jpg's along with a brief explanation of our process. Below are my submissions. In the next few weeks I will find out which image was chosen for the book.

Brief description of my process:

I use photos I have taken and transfer the images by fusing them into wax medium. I then paint additional details using small brushes, pigmented layers of wax, and sculpting tools to create a greater sense of depth.

Once I received the news that I was going to be included in the book, my confidence was up and I decided to submit to the Cambridge Art Association upcoming BLUE show. Below are the pieces I submitted, (the middle image is watercolor, the others are encaustic).

I also applied to SOLO Competition at the Bromfield Gallery. The work I submitted was from my topography series. 

My encaustic body of work has been transitioning from representational into abstract, always pulling inspiration from my love of the land and earth. Having my encaustic image transfers chosen to be featured in "Embracing Encaustic" validates the process I have been developing for the past 3 years. The inner critic is now anxiously awaiting for either acceptance or rejection of my new abstracts. I will share the outcome here once I receive notifications.

The other side of my art business is exhibiting (and selling) starting this weekend at the Paradise City show in Northampton, MA.  Today I load up, tomorrow setup, and Saturday through Monday I will be  exhibiting. The following weekend my solo show at Brush Strokes Gallery opens followed by teaching beginner encaustic workshops. This is a busy time of year for me and I am embracing all of these encaustic opportunities.

Shifting

"Dreaming of Water", 18 x 24, encaustic on cradled panel

My recent focus has been on painting with wax using abstract techniques to depict identifiable landscapes in new ways. I am inspired to convey a message about the land and a view of the world that allows for an essential appreciation of earth and nature.

I painted "Dreaming of Water" using shades of blue combined with the earth pigments that are most predominant in Aboriginal paintings. I have just begun reading a book, "Mutant Message Down Under" by Marlo Morgan; she shares her experiences from walking across Australia with a nomadic Aboriginal tribe. The tribe lives and thrives in natural harmony with their surroundings and through reading her first hand perspective, I have developed many new visions of the world. I just need the time to paint them all.

Unfortunately, I will have to take a short painting break as I prepare for the upcoming Paradise City show over Columbus Day weekend followed by my solo show and encaustic workshop at Brush Strokes Studio. I have been very protective of this newest body of abstract work, although I am planning on including some pieces in upcoming shows. It's important not to ignore that we need to live in peace and harmony with not just each other, but the land, too. Primitive art has become more meaningful to me than any other art form, it brings me back to the essential basics of life.

Footprints

I put together a short 1 minute slideshow of my recent process, all inspired by Aboriginal art and a humbling view of the world. This discovery has been exhilarating, allowing me to explore new textures, patterns, and dimensionality. 

A birds eye view

"Footprints", 12" x 12" encaustic on panel, the newest addition to the Outback Series

I am looking forward to adding additional works to the slideshow as they are completed.
Music by Thievery Corporation, Incident at Gate 7

                                           

Demo paintings

Saturday I was at the Copley Society in Boston demonstrating two different encaustic painting techniques in the upper gallery. It was a treat being able to answer questions, demonstrate examples of my work, and explain my processes. 

The first technique I demonstrated was an image transfer. I had 2 prepared panels ... a second panel as a backup with the image already transferred into the wax just in case I had a problem during the demo. I was able to complete both transfers today, can you notice the differences between the two works? I did not want them to be identical.

"Koi Pond 1", 8" x 8" 

"Koi Pond 2", 8" x 8"

The second technique I demonstrated was excavating a design into layers of colored wax. I also added colored inlays and today was able to better refine the design. 

"Watering Hole", 6" x 6"

I continue to be focused on developing the Topography series of encaustic paintings. Tomorrow I begin excavating a new design in a 12" x 12" panel that I prepared with layers of color today.

Encaustic demo tomorrow

"My bags are packed and I'm ready to go..." No, I am not leaving on a jet plane, but I am ready for the encaustic demonstration I will be offering at the Copley Society of Art tomorrow afternoon. When I arrived at the opening reception for the Marine Art show yesterday, I was surprised to see this poster directly in front of the gallery on Newbury Street. I knew there would be a poster promoting the event but this was more than I expected, almost life size!

http://www.copleysociety.org/events/lectures.html

The reception was well attended and there have been lots of inquiries about the demo. I am looking forward to sharing several of the techniques I have been using over the past few years.

My painting received the 2nd place award and was the only encaustic painting in the show. I feel the encaustic medium is still misunderstood and painting with beeswax seems to be peaking lots of interest lately. I will share more after the demo tomorrow.

Karma

Timing is everything. 

 "Drought", 12" x 12" encaustic on cradled panel

At the last minute, I found out and signed up to attend an encaustic workshop end of July, and knew it was a perfect way to better educate myself using the encaustic medium. One of the techniques I learned from Laura Moriarty in her workshop clicked and was my "aha" moment with wax. I realized layering colored wax and then scraping it away allowed for a more dimensional, sculptural use of the medium. It was the opposite of what I had been doing - taking wax away rather than building it up - and this new way of seeing shapes and colors captured hold of me.

A month later when I visited my daughter in Seattle I became aware of the Aboriginal exhibit at the Seattle Art Museum and although I missed seeing the exhibit I was able to purchase the exhibit book. The Aboriginal view of the world has been another "aha" moment for me. The textures and shapes that seem simple and abstract are actually depictions of places, people, or stories. So much is expressed in their eloquent, simplified way. 

Landscape paintings are my passion, seeing and creating abstractly has been a goal of mine for a while. It was Karma - to learn the skill then realize a new way of seeing the world, simultaneously.

"Sand Hills", 6" x 6" encaustic on board

Because the encausticbord was flat and not cradled, I decided to use a frame to add display depth and highlight the contrasts in this smaller work.