Encaustic Arts Magazine WINTER 2017 - Page 60

The second developed method is the use of textiles. I have a long history and love for textiles, and it was a natural progression to start incorporating fiber and encaustic into my work. Knowing that fabric met the requirement of absorbency, I went on to define ways that its formed shapes would hold up to environmental stresses. My approach took me in two differing directions: start with an “existing cloth object” (an abstracted sewn form or a piece of clothing) or, incorporate fabric directly into my paintings in a sculptural way or as an armature in its own right. The latt er is how I make my long tendril-like forms, that suspend off of walls or hang in mass as a type of mobile, as well as my sculpted silk pieces that create tube-like structures incorporated into “paintings”. Top Left: Memories, encaustic, fiber, oil, 18 x 15 x 15 inches, 2017 Top Center: Suspended Flow, (Installation), encaustic, fiber, 93 x 80 x 5 inches, 2008 Top Right: Lovely Kira, (Installation), encaustic, fiber, wood, 80 x 70 x 14 inches, 2008 Bottom: Suspended Flow Study, (Installation), encaustic, fiber, plexiglas, 12 x 12 x 3 inches, 2008