What is Encaustic Painting?
Encaustic painting uses melted beeswax and can be traced back to ancient Greece where wax and resin were used to waterproof and decorate warships. The Greeks brought encaustic painting to Egypt and the oldest surviving examples of Romano-Egyptian Fayum mummy portraits date to 200-400 AD. These portraits painted on wooden boards served as mummy masks and one can see nearly 900 surviving examples in major museums worldwide. The fact that so many examples exist more than fifteen centuries later underscores the durability of this medium when kept in a consistent temperature and humidity.
Encaustic became popular again in the 20th century as artists such as Diego Rivera, Arthur Dove, and most notably, Jasper Johns (Flag paintings), used encaustic to create iconic works of art.
How do I care for my encaustic painting?
Encaustic painting has survived for over 2000 years. Beeswax is naturally impervious to moisture and is incredibly durable. Encaustic paintings, unlike oil paintings, remain archival and the colors will not yellow or darken over time.
The formula for encaustic paint has damar resin which “cures,” or hardens, the paint over time. Occasionally, during the process of curing the surface or colors can appear to dull. One can gently buff the surface using a clean, lint free cloth and the surface and colors should return to a shiny clear state. Note: Use caution when buffing the painting if the encaustic artist has used ink, or other mark making mediums, as you might unintentionally remove the marks.
Similar to other fine art pieces, encaustic paintings should not be exposed to extreme heat or cold temperatures (near stoves, furnaces, unheated garage or barn, etc.). Encaustic paint is stable from approximately 40-120º F. It begins to soften at 120ºF, is workable at 150ºF and turns to liquid at 162ºF. Avoid hanging encaustic paintings in direct sunlight. Generally, hot days/climates will soften the wax, but will not do any real damage. However, this is why encaustic paintings are not suitable to be framed with glass as it creates a greenhouse effect especially under gallery lights. By contrast, the wax becomes fragile and can shatter if exposed to extremely cold temperatures or if handled without care. Ideally, encaustic paintings should be displayed or stored at room temperature and the wax should always remain cool to the touch.
The paintings should be stored/transported by covering them with wax paper and wrapped in bubble wrap (bubble side out so the bubble pattern does not imprint). Be aware that even if the wax has set, or “cured,” over time it still may be scratched, gouged, or damaged if not handled carefully.
What is Oil and Cold Wax Painting?
Oil and cold wax painting relies heavily on “Cold wax medium” which is a mixture of natural beeswax, Gamsol, and alkyd resin. A mix the cold wax medium and oil paint makes the paint have more texture and allows the artist to cover and uncover layers of paint as it dries quickly. Cold wax painting bridges the techniques of painting with oil and encaustic painting. However, unlike encaustic painting, it does not need heat to set.
R&F pigment sticks may be used for oil and cold wax painting. R&F pigment sticks shape oil paint with enough wax into stick form which allows the artist to draw or paint directly onto gessobords or encausticbords.
If you would like more information about cold wax painting visit gamblincolors.com/cold-wax-painting or R&F pigment sticks visit rfpaints.com/pigment-sticks.
What artists influence your paintings?
When I paint, I draw upon a lifetime of artists that inspire me to push the limits of two-dimensional paintings and explore new ways to express how I see the world. My favorite artists are ones that celebrate color, nature and a sense of place. There are so many, but here are a few: Dale Chihuly, David Hockney, Charles Demuth, Wolf Kahn, John Singer Sargent, Andy Goldsworthy, Yann Arthus-Bertrand, Robert Rauschenberg, Joan Mitchell, Helen Frankenthaler, Georgia O’Keeffe, Alexander Calder, Sarah Sze, etc. etc.
Several of your paintings have repeating patterns, is this a particular series?
Series? Perhaps, but more of an ongoing exploration. I was an Asian Studies minor in college and am particularly drawn to the varied elements of Zen Gardens. These Japanese sanctuaries appeal to me on a multi-sensory level. I have a deep reverence for the sounds of a water feature, the smell of the earth, the textures and colors of the landscape, the controlled patterns in the stones juxtaposed against the boundless wild in nature, regardless of the season. These facets of Zen Garden design appear in my work as I explore color in a typically abstract manner and then layer a more deliberate Zen-like pattern over the cacophony of paint to reveal various layers beneath. I like that my Zen patterns are imperfect unlike the stones in a traditional garden. I see the imperfections as a way to express the tension and almost futile efforts humans make to control the natural world.
Are your paintings available unframed?
Most of my work is sold framed as clients seem to prefer a finished work ready to hang on the wall. I do sell a few paintings unframed. If you are interested, please contact me directly.
