Encaustic Arts Magazine WINTER 2017 - Page 121

ABSTRACT #4 I decided to take a workshop with Paula Rowland entitled: Encaustic Monotypes. It opened a whole new world! Having always been an athlete and an artist, right from the first day I was drawn to this new technique. Energy, motion, always central to my feeling about my art and life, were satisfied by the very physical act of creating a monotype with the “hotbox”. Paint is applied with abandon, instinct takes over from control, totally the opposite of graphic design. I abandoned my representational images and began to explore abstraction. I feel works of art are experiences in and of themselves and do not require any explanation of their message. Abstraction gives viewers more room to interpret the work in their own way. Color is a critical element in abstraction and has always been a primary component in my work, sometimes bold, exciting color, sometimes a subtle, quiet palette. Color is my tool when I wish to convey an emotion to the viewer.  Other times, my relationship with my work resides in an internal place where creation is just an instinct that even I can’t explain. Every part of my environment affects the images I create. I hope my successful paintings first please the eye, then communicate the emotions I felt at the time I produced it. Around this time I joined a group called The Experimental Group and their philosophy of doing things in new and different ways, always looking for the unexpected, was a challenge to me. Challenge led to discovery!