I've been saving the pits from our wonderful Palisade Peaches, planning to use them in a piece or two. This tree has been sitting in the studio for a long time, with too much space on the bottom. I decided to line up some of the beautiful peach pits along the bottom and then coat the piece with wax. I'm happy with the result. Thanks for visiting!
A friend asked what I learned and enjoyed about this challenge. I learned some new techniques in encaustic, and in painting and collage. I enjoyed having an excuse to go to the studio every day, with a specific purpose. The most valuable lesson learned was to let go and allow the materials and the process to take me in an unplanned direction. The process was similar to writing at that moment when the muse takes over and the writer becomes a conduit for a shared universal concept. And, as a photographer, it was good to loosen up a bit.
I'm ready to move on. I want to return to photography and begin to explore some of the issues that came up through the processes of the past thirty days, with greater deliberateness and a looser process. Thanks for visiting!
This painting began with several layers of encaustic medium, fused between with the heat gun. I used oil sticks to get the vibrant colors, fusing while the oil was still wet enough to move around the composition. I used the letter set to place the text, and metal stamps for the crown likeness. These were all filled with oil stick, then the excess was wiped away.
This is my little "me too" painting. Thanks for visiting!
I wanted to make something in response to the concerns over our national parklands. This is a small weave of two parks under consideration for oil drilling. I put them together on the ground and then wove the two where they overlapped. I coated the weave with 4-5 layers of clear wax medium and then embedded the pastoral landscape from an old dollhouse a friend of mine built. Finally, I added some grass-like string for texture and balance.
I enjoyed making this piece; it allowed me to think about some important issues and feel a tiny bit of control over an unfortunate situation. Thanks for visiting!
This is a simple, straightforward celebration of a photograph I took several years ago on a friend's porch. This beautiful and intricate spider's web was captivating. I changed the color photograph to black and white and then printed the image on transparent paper. It was floated onto a white-gessoed ground with seven layers of encaustic medium (fused between each layer with the heat gun, of course). One thin layer of clear medium was painted over the image to give it a creamy look.
Sometimes simple is best, and the image speaks for itself. Thanks for visiting!
This is a photograph that I printed on rice paper and floated onto molten wax to give it a transparent look. The image was embellished using my favorite wallpaper stamps and then filling them with oil stick. A final coat of medium was layered over the top of the piece to pull all of the elements together.
I love this simple tree photograph, and, though it was manipulated to maximize the eeriness of the scene, the image appropriately communicates the feel of that place in time. Thanks for visiting!
I printed this image on vellum a while ago, intending to use it in an encaustic piece. This is the third in a series using this pair of hands. I mounted the photograph over several layers of encaustic medium, fusing in between layers to create a smooth surface. I used wallpaper stamps to create the lacy cuffs, filling in the depressions with purple encaustic oil sticks. I painted the fingernails with crimson wax and then carved a lacy ring on a finger. This was also filled in with an oil stick: orange/gold this time. The entire piece was then coated with a final 2 layers of medium, carefully fusing in between so as not to move around the oils too much.
I like the final effect: the white, white hands with the red, red polish remind me of my mother's hands in the 1960's. Thanks for visiting!
This is a small map weave. I chose 2 colorful maps, cut them in strips and wove them together. I mounted the weave to the ground with wax after coating both sides of the weave by dipping it into the medium. Next I added the rusty object. The colored twine has the same palette as the maps so I secured a "bouquet" into the little pipe.
This was a fun and colorful little piece to make. Thanks for visiting!
This piece is a re-worked map assemblage. I re-used the ground, with the map adhered to the surface. Several layers of encaustic medium were built up to create a surface that would hold the heavy elements of the tile, bottle and rusty object - all found at Dead Horse Bay last spring. The elements were assembled and then more layers of clear wax were added to bind it all together.
I always enjoy working with rusty and found objects; I love the color and the patina. Thanks for visiting!
This piece began with a mapweave. I photographed one of my favorite weaves - northpole/southpole - and then printed it on rice paper. The ground was prepared with 8-10 coats of encaustic medium, and the top layers were liquified with the heat gun. I floated the image onto the melted wax and smoothed it down. 2 more layers of wax coated the image and I incised the design, filling it with rust-colored alcohol ink. The rusty piece was pushed into the soft wax and then fused into place. Finally, several strands of multi-colored twine was fused into the rusty piece and allowed to drape over the elements.
I enjoyed making this unplanned aseemblage. I'm sure I'll go back to it and make some changes in the coming weeks as it has a certain pull. Thanks for visiting!