Encaustic Arts Magazine WINTER 2017 - Page 117

EMERGING #9 While working as a graphic designer for 30 some years, I was solving other people’s “problems.” Now that I was a fine artist, I found it difficult to find my own “problems.” I had to shake off the discipline of designing for others, and establish my own rules for what was good and what was not. Another challenge was envisioning and creating art to a new larger size than the standard 8 1/2 by 11-inch format I had worked with for years. Working through these new dictates was a challenge. My first thought was to combine my graphic design experiences with my new artistic medium. All art is abstract but using only black and white, to me, is distilling any image to a one dimensional representation. Black and white transfers work well with encaustic and allowed me to use these images in the process of creating a painting. At this point I did not have to totally abandon my graphic background. I have always had a fascination about the volumes, shapes and lines that make up images of the human figure. A very little suggestion of a figure is readily recognized by the viewer. My first encaustics were parts of nudes partially hidden in a painting. I wanted to expose some but not all of my nudes. I wanted to let the viewer find -- or not find -- the human images by themselves as they looked at the painting. I loved the “ohs” when they discovered the human form. There was a direct correlation between the figures emerging from the paintings and  my emerging as a fine artist.