Encaustic Arts Magazine WINTER 2017 - Page 65

The third method I devised, is one of deconstruction. Any artist working with encaustic will tell you about the first time they intensionally or unintentionally “scrapped” their painting off of their panel. Sometimes it’s done in very thin layers as a means of reductive work, and other times it’s done to start anew. My hope was to be able to create deconstructed forms that would hold up to detailed shaping as well as intense handling when needed (in the case of shipping and installations). I researched and tested different ways to make my encaustic medium, finding that just the right balance and ratio was the key to my success. Additionally, I found that using a Plexiglas board instead of wood as my scraping base was far better, as well as learning what thickness and temperature allowed for the greatest plasticity and sculpting. The most notable sculptures I make using this method are floral forms. I have created installations using floral forms, having hundreds of flowers flow across a wall, catching themselves in the corners of shallow hanging boxes. I have also embedded them into paintings and hanging boxes, often with the feel of specimen study. Two etherial installations used the thinest possible amount of encaustic, to form petals that hung suspended off of the wall in neat rows entitled Petal Study, and in a variation entitled Transcendence where the petals seemed to be suspended in air (attached to monofilament). Left: Summer Breeze, (Installation view), encaustic, hand-made wood boxes, 109 x 96 x 6 inches, 2008 Right: Morning Song, (Close-up view), encaustic, in hand-made wood form, 24 x 30 x 7 inches, 2009