Encaustic Arts Magazine WINTER 2017 - Page 113

TODAY Here I am in my studio; ready to begin; ready to start a new monotype series. I have formulated a basic blueprint of the finished print, although I will take advantage of every new and unexpected development during the process. The hot box is the center of the studio, a large stainless plate, heated to the perfect temperature for my planned prints. My studio is my favorite realm and a place where I can escape into my own world of art. It is located in a renovated mill building in Salem, Massachusetts. From my large studio window, the view takes in Salem Harbor across to the Historic Custom House where Nathaniel Hawthorne once worked. But I rarely partake of that view. Rather, my studio has become my solitary environment where I contemplate and concentrate. I print as many images as I think I can use, adding the various prints to the pile already on the floor. At the feeling of enough is enough, I clean the hot box plate, turn off the heat and gather my harvest of prints. I combine two or three prints: sheet A over sheet B over sheet C. ABC, ACA, DB, BAF, GCB, layering and illuminating them until I discover the one I am happy with. The final resulting print, California, is my vision of the many environmental disasters endured by the state of California. A happy coincidence arose just as I completed this print. I viewed the call for entries for a national juried show entitled Global Warming is REAL. Apparently, it was meant to be. California was submitted and chosen to become a part of that show at the Museum of Encaustic Art in Santa Fe.