Encaustic Arts Magazine WINTER 2017 - Page 146

Let me briefly outline the encaustic plaster process for a piece called Rising Sun (part of the permanent collection at the Encaustic Museum of Art). The encaustic process was created over top of a plaster base. (This plaster process is also demonstrated in the attached video at the end of this article). In general, the plaster is built up over top of a wood paneled base, and textures were created through usage of items such as pine cones, cloth and other cutting/layering processes. Surprisingly, this plaster process is very similar to the encaustic process; it is layered through the usage of various tools and provides a way of establishing movement and motion throughout the piece. The plaster allows for crisp lines that can be difficult to hold with just pure encaustics. Once a skim coat is applied and set, the plaster can be built upon, and layered to create various shapes. I start with a base texture that excites me, and then allow the motion and dynamics to dictate how, and where, the piece needs to be finished. For this process, it is the base and its composition that form an integral part the design composition. My encaustic pieces are largely non-representational, and tend to emphasize motion. Without a base that successfully mimics this motion, it compositionally softens the angularity. I seek movement from one side to the other, or one diagonal to the next. I am generally not looking for a sense of calm throughout, but rather, one of a frantic hop to the next, with resting space or puddles in between.