My Process...

Since I first encountered encaustic over 25 years ago I have watched it grow from an obscure ancient painting method to a widely popular and recognized fine art medium. 

With interest in encaustic continuing to expand, I receive daily inquiries from other artists about my painting methods and techniques: How do you do it? What materials are you using? Will you teach me how? ... and so on. I truly appreciate it when people reach out and I feel quite honored that so many of you seek my advice about encaustic. 

Detail from Carnival Vista - Encaustic w/mixed media - 24" x 48" -Alicia Tormey 2015

I have taught many workshops in the past and just resumed teaching. For a list of current classes please visit my workshop page at: Alicia Tormey Workshops 

Here are some very informative links on the subject of encaustic that you may find helpful:

As for my own work:  I have painted exclusively with encaustic for the past 15 years and my work is known for the distinctive surface patterning and web-like textures that appear in all of my artworks. The most common misperception about my art is that it is entirely based on materials and process alone. But there is much more to it than some secret recipe or technique. It's the pure act of painting combined with my commitment and intention as an artist that allows me to obtain the final results that make my work unique. 

My secret ? : The truth is... I labor over each and every painting to achieve my signature imagery. I find it ironic…that it takes a lot of very hard work to make a painting feel effortless and even more hard work to create something that is truly singular and distinctive. 

View a bit of my painting process here: Organic Alchemy Video

My advice to inquisitive artists:

Experimenta lotand make room for play... and your voice will find you!

Wishing you all the best. 
Cheers! ~ Alicia


Really Wild

Boston Globe art critic, Cate McQuaid, reviews Organica show. . .

Read her article below...

Wild, Dreamy Images
At Chase Young Gallery, Alicia Tormey’s “Gaudium.”
 Alicia Tormey makes pictures. Wild, intoxicating pictures with jewel tones, spatial complexity, abstract passages, and giddy motion, which are now on view at Chase Young Gallery. Looking at them is a less contemplative process than looking at work by Lipsky and Tollens. Likewise, they are rewarding in different ways.
What Tormey has in common with those two painters is a commitment to technique. She mixes beeswax, ink, and shellac, and builds her images, in part, with a blowtorch. The ink, it appears, makes the picture; layers of wax add the illusion of distance. The heated shellac bubbles and threads, creating an organic overlay that crawls over the surface, and frames the color beneath like a stained glass window.
The artist’s floral pieces, such as “Sublimus” and “Gaudium,”are hardly still lifes. In these fierce blooms, delicate strands and wisps of jewel-like color streak like silk in the wind. They’re fiery — if fire were purple, green, or gold — and seem held together by those delicate bubbles caused by the blowtorch.
Those flowers come at you, all along the surface. Tormey’s landscapes recede dreamily into soft hazes. “Kaleidoscope” depicts a river delta fading into a pearlescent distance. The deep brown web of shellac over pale green delineates the land. Three slender ribbons in the foreground bring us right to the surface.
Alicia Tormey’s “Kaleidoscope.”
If we were looking through binoculars, these ribbons would be hairs in a lens. They’re that close, and they make the space of this landscape appear impossibly grand. With a technique that leans toward gorgeous, it’s easy to go too far. Most of the time, Tormey’s tones, lines, and her attention to detail work to her favor.
At: Chase Young Gallery, 450 Harrison Ave., through April 30. 617-859-7222
Published in the Boston Globe on April 8th, 2015
Here's a link to the full article: Boston Globe