Unglazed porcelain form - 2009 - work in progress
This is a form before I began to work on it – just the way it came out of the kiln. The pieces look so raw and simple this way. I love the look and feel of unglazed porcelain. I should have the art for the show wrapped up in the next couple of weeks so I can begin photographing it. It is so exciting for me as an artist to combine the use of encaustic with a new material. Please mark your calendars for the show opening in Seattle on November 5th, 2009, at the Pacini Lubel Gallery.
Summer Dance Detail - Encaustic w/ Mixed Media 2009
I have had several inquiries regarding my process used to create this painting - Summer Dance -2009. I just found out that it has been sold so it reminded me to comment before the memory fades. This painting is encaustic with a monotype collage element and mixed media. I started with a gessoed panel (*please see my additional comment on the gesso) and layered in some tones around the edges with pigment sticks and ink. Then I brushed down a couple layers of wax to prime the surface and embedded one of my mono print images of a blue leafy branch near the center. More wax layers were then built up and distressed around it. I then painted and scratched in the foreground branch with encaustic and oil and I used a Bernzomatic torch throughout to fuse all my layers.
*I have been experimenting with the new encaustic gesso from R & F. My summation is: that unless you are working on a dark surface or doing extensive under-painting with mediums other than encaustic, it seams a bit unnecessary to gesso. I was hoping it would give me a smoother surface but it really only added an additional step to an already labor intensive process. However, I could see the benefit of this step if you wanted to paint a detailed under-painting image on the gesso first in a medium that’s compatible with encaustic such as oils.
I hope you find this informative and I will post more observations on the gesso as I work with it in the studio. If anyone has tips on working with gesso as well as hints for taking successful photos of encaustic art please share them here!
Comments
I haven't used a torch yet and think it won't come in too handy for me because of all the other materials I use with the paint, but it does give a beautiful effect as you have shown in your work.
I photograph my own work and my best results are in indirect daylight with the camera focusing a bit to the side - so the flash doesn't create a glare - or a washed out spot.