Encaustic Arts Magazine WINTER 2017 - Page 57

So for me it has been both curiosity and vision playing key roles when it comes to making art. Asking “how can I..”, “what would happen if...”, coupled with an idea, vision, and feeling. And I think this is a great time to make the point that my work isn’t about the medium, it’s about the idea(s) and how the medium(s) supports its creation. And that is how I came to the place of wanting to create sculptural pieces using encaustic as the basis. The ideas that intrigued me were the opposing characteristics of encaustic: plasticity/ rigidity, translucency/opacity, then taking those qualities and transforming them into shapes and forms in three dimensions. The ideas that filled my head were varied, leading me to establish specific methods to address the differing structures I wanted to form. For me, this defines the very exciting stage of innovation: bringing together curiosity and vision to literally develop an original methodology. So coupled with intrigue about the qualities of encaustic and ideas for sculptures and installations, I set out to figure out a means to my intended end. After a great deal of experimentation and consideration, I have honed my sculpture skills using four different methodologies, (using the best method to match the desired results): 1) creating an armature, 2) using cloth fiber (as fabric and in a pre-made form), 3) using encaustic paint alone (free-sculpted without armature), and 4) transforming books into sculpted forms. Left: Gently Held, (Close-up view) encaustic in hand-made wood box, 60 x 25 x 4 inches, 2006 Right: Study, encaustic, paper (repurposed book), 12 x 23 x 8 inches, 2007